Showing below up to 100 results in range #101 to #200.
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| Chogan (edit) | A popular horse-riding game in Iran with music and storytelling, Chogān has a history of over 2,000 years and is mostly played at royal courts and urban fields. A team-based sport in which players pass the ball through the opposing team's goalposts using a wooden stick. In the Sasannian Empire, chowgan was part of the royal education system for the Sasanians. The Romans adopted it and called it tzykanion. During the reign of Theodosius II, in the tzykanisterion, tzykanion was played by the Roman imperial court. By the Tang dynasty (618–907), polo was well-established in the Chinese. A Chogan team consists of two riders and their goal is to pass the Guy (ball) through the opposing team's goals by using a Chogan (wooden stick). Players compete in a large open area known as a Meydan, in several “Chukkehs” (rounds). Each Meydan is different, as are the number of Chukkehs and the number of "Choganbazin" (players There are three pieces of Chogan: Choganbazi (the main game), corresponding musical pieces, and narration (Naqqali, Morshedkhani). Because the game needs several Chogan horses, a skilled Choganbazin, and a level Meydan, it is mostly performed in specific places and large events, such as Nowrouz. The artists often participate at the game from their own initiative and without any compensation. They usually tell stories and poems about the local, national, and mythological areas and used local tunes and melodies. Performing in various areas, the local literature and music of the specific areas are promoted which reinforces their sense of belonging, whether it's local, national, or ethnic. Various Chogan skills are often passed down informally and orally by parents and their children, or masters and apprentices. Considering the reasons which will be cited in the social functions section, it is very appealing to the youth to learn this game. As a result, the masters and veterans in society have gained a high social standing. Apprentices are encouraged to display their creativity when learning about the music and storytelling related to the harvest festival. Over decades, Chogan practices have continued to be actively safeguarded by local practitioners and their families. However, Chogan associations have been formed, which hold training courses, support local masters, and help transmit aspects of Chogan while simultaneously safeguarding local diversity. Many motifs used in Iranian literature, art, handicrafts, and architectural ornaments are derived from Chogan. | Art • Entertainment and Recreation • Music • Verbal Arts and Literature | Iran | ||||||||
| Chopi Timbila (edit) | The Chopi communities live mainly in the southern part of Inhambane province in southern Mozambique and are known for their orchestral music. Their orchestras are composed of five to thirty wooden xylophones, or timbila, with varying sizes and pitches. Chopi people from Mozambique, are mainly based in the southern part of the province of Inhambane and live in separate communities. The Chopi people are very well known for their orchestra music. As a result, their orchestras are composed of five to thirty wooden xylophones, called timbila, which vary in size and pitch in accordance with the instrument's size and pitch range. The timbila, a type of African instrument, is crafted from the highly resonant wood of the mwenje tree which is slow-growing and grows only very slowly in the region. In the middle of each wooden slat is a resonator made of calabashes. The resonator is tightly sealed with beeswax and tempered with the oil of the nkuso fruit, giving each timbila its rich nasal sound and characteristic vibration. There are orchestras with timbila masters and apprentices of all ages playing with the children in their grandfathers' arms while they play. Throughout the year, the orchestra composes a number of new pieces and presents them at weddings and other large community events. The rhythms within each theme are complex, so a player's left hand often follows a completely different rhythm than that of the right hand. This performance lasts about an hour and includes solo and orchestral themes accompanied by varying tempi. Closely related to the music are the timbila dances, which are performed by dancers from two to twelve, in the presence of the orchestra. Timbila performances include the solemn m'zeno song, sung by the dancers, accompanied by soft and slow musical accompaniment. The humorous and sarcastic texts in this collection depict contemporary social issues and chronicle the events of the community through the lens of humour and sarcasm. Most experienced timbila performers are older people. Although several timbila masters have begun to train young musicians, as well as to include girls in their orchestras and dance groups, it seems that younger people are increasingly losing touch with this cultural heritage. In addition, the deforestation of the forest has resulted in a scarcity of the kind of wood required to produce the distinctive sound of the timbila instruments. | Music | Mozambique | ||||||||
| Chovqan (edit) | Chovqan is a traditional horse-riding game played by two competing teams of players mounted on Karabakh horses on a flat, grassy field. As a national sport in Azerbaijan, chovqan is considered to have a long history. An archaeological excavation of an ancient vessel suggests the sport has existed for at least a thousand years. As an aristocratic game, it was held in different fields with specially trained horses. The game became very popular among the Asian people. It is played throughout Iran, the Republic of Azerbaijan, Tajikistan, and Uzbekistan. The game was later adopted in the Western World, today known as polo. It originated in ancient Iran (Persia) as a game played with horses called Chowgan (Persian: cowgan, Azerbaijani: cövkan). An archaeological excavation in the Oran-Gala area yielded a vessel with fragments of pictures of a chovgan game, indicating that the game existed around Beylagan city during the 11th century. There are five riders on each team, two fullbacks, and three forwards. They use wooden mallets to try to drive tiny leather or wooden balls into their opponents' goals. Instrumental folk music is known as janghi plays in the background. The game lasts 30 minutes and is divided into two periods. Traditionally, Karabakh horses are used as mounts for the game because of their agility and relatively calm temperament. Chovqan is played by local male farmers and skilled riders. They traditionally wear big astrakhan hats, long pants with a high waist, socks, and shoes. It is a traditional game watched by people of all ages, and it is strongly rooted in nomadic culture. People of all ages love the horse, as it is part of the perception of the horse as an integral part of everyday life. New players are taught the specific rules, skills, and techniques of Chovqan through collective training. Chovqan is no longer practiced or transmitted due to urbanization and migration. Due to this lack of players, trainers, and Karabakh horses, the practice and transmission have weakened. However, in the last couple of years, the sport has slowly recovered. Azerbaijan holds a national competition in December known as the President's Cup, hosted by the Republican Equestrian Tourism Center in Dashyuz, near Shaki. The teams representing eight Azerbaijani cities participated in the first of these competitions, which took place from December 22 to 25, 2006. The winners were the teams from Aghstafa, which took the title after beating Qakh, Gazakh, and Oguz. ===References=== (https://ich.unesco.org/en/USL/chovqan-a-traditional-karabakh-horse-riding-game-in-the-republic-of-azerbaijan-00905) (https://en.wikipedia.org/wiki/Chovgan#Chovgan_in_Azerbaijan) | Entertainment and Recreation | Azerbaijan | (11) Sustainable Cities and Communities | |||||||
| Christmas Glass Beads (edit) | Crafted Christmas tree decorations made from blown glass beads are produced by blowing a heated glass tube into a brass mould, shaped into a string of beads called klaustschata. They are hand-silvered, colored, and decorated. The handmade beads from Czechia are then cut into shorter pieces for threading onto wires and are then decorated with silver, colored, and hand-painted beads. One of the most important cultural elements of the Giant and Jizera Mountain regions in North Bohemia is glass bead making, which has been done since the late eighteenth century. The craft is specialized and technically demanding, handed down for generations by families. During the socialist era, only one small production workshop survived the era when the socialist economy began to transform. After communism fell in 1989, the Kulhavy family purchased the Ponikla factory, which presently employs 50 people and preserved the tradition. Over time, the craft became more prevalent and families made their living through it. About 400 glass bead makers lived in the village at the beginning of the 20th century. In the 19th century, glass beads were very widely used in bijouterie and in the decorating of garments. By 1912, they were also used for making Christmas tree decorations. By the 1930s, the production exploded and the decorations were exported to countries all over the world. Family workshops like the Kulhavy family have been able to preserve this knowledge and continue to work with domestic bead makers to preserve the tradition. Museums also help to preserve this knowledge by organizing workshops. There is an old folk tale about Krakono, who was the legendary ruler of the mountains, and who made Christmas ornaments such as these. A family company in Poniklá, Czech Republic, called Rautis, is now the only place in the world where the traditional craft of glass bead blowing has been preserved for more than 100 years. It was started in 1902 by Stanislav Horna, who established the first manufactory in Poniklá. Rautis maintains the traditional technology and the manufacturing process that was passed down from generation to generation for more than 100 years. Currently, it has approximately 20,000 designs, some dating as far back as the turn of the century. | Art • Craftsmanship and Practices | Czech Republic | (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities • (12) Responsible Consumption and Production | |||||||
| Çini-making (edit) | Cini is Turkish traditionally handmade, hand-glaze and ceramic tiles that feature motifs of animals, plants, and geometric patterns found commonly on the facades of buildings, and in homes all over Turkey. Cini-making refers to the fabrication of traditional Turkish art known as çini since the 12th century. It has its own specific production and decoration techniques such as "minai", "luster", "polishing", and "under glazed". Craftspeople have used the Cini underglaze technique since the 16th century in their products. According to the prescriptions, they prepare the glaze using their knowledge of nature and traditional production techniques. Clay is pulped in this process. Cini, traditionally adorned with geometric shapes, plants, and animal figures that symbolize cosmic thoughts and beliefs, usually uses the primary colors red, cobalt blue, turquoise, or green against a white or navy blue background. A series of processes are involved in making çini. First, the clay is shaped, lined, dried, and fired in ovens designed to make çini. Traditionally, the outer contour of the patterns is hand-drawn. The surface is then dyed with various colors, and then the work is glazed and fired. A cini-making workshop involves a craftsperson, a supervisor, and apprentices. They each perform a specific role - shaping, designing, dyeing, polishing, undercoating, or firing. Cini making is considered to be an outlet for self-expression, development, and healing, as well as a means of preserving an aspect of Turkey's cultural identity, strengthening ties from the past to the present, and contributing to the continuity of the culture. Cini making is not limited to a workshop space. It's practiced in the home, in public education centers, invocation schools, and in universities throughout the country, where ethnicity, age, or gender are not barriers to knowledge sharing, transmission, or skills development. As çini has been used for healing for centuries, it has also been adorning public and religious buildings for thousands of years. It is used to enhance their public and religious facades. Not only is it an important part of the city identity of Kütahya, Iznik, and Canakkale, but it also gives personality to their symbolic buildings in Antalya, Konya, Kayseri, Sivas, and Istanbul. These patterns have been creating a way to reflect world views, beliefs, lifestyles, perceptions, and feelings from past to present, using artistic and subliminal techniques. This is why çini-making plays a vital role in bringing the past and present together, and transmitting a sense of identity, continuity, and cultural continuity into the future. | Art • Belief • Craftsmanship and Practices | Turkey | (04) Quality Education • (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities • (12) Responsible Consumption and Production | |||||||
| Cirio de Nazare (edit) | The Cirio de Nazaré festival in Belém celebrates the life of Our Lady of Nazareth. The main procession is held on the second Sunday of October, but the celebrations start in August. Tradition has it that the Cirio of Nazare was first started when a farmer and lumberman named Plácido José de Souza found a Virgin and Child image on the edge of the Murucutu creek. He took the image home, but it would mysteriously go back to the place it was initially discovered every time he brought it home. To honor the image, Placido built a small chapel at the edge of the creek. Since then, the Cirio has been celebrated as a long procession lasting around five hours, where thousands of people follow the statue in the streets of Belém. The Cirio festival is considered to be "Christmas of the Amazon" because everyone is involved in preparing for the Saint's arrival. During the time, new elements were incorporated into the tradition because the people wanted to honor their patron saint. Before the Cirio procession, the statue is taken by the people to the square of Ananindeua, a nearby city. When it reaches the Icoaraci pier, it is held at a Mass. It's followed by an annual river procession. This was created to honor the "watermen," who consider the Virgin of Nazareth as their patron saint. There is a traditional contest to see who has the most colorful boat. The procession continues through the waters of Guajará Bay, culminating at the Gentil Bittencourt School. Following the parade is a candle-lit procession that symbolizes the discovery of the Saint and its return to where it was found. When the procession passes the Old City, the faithful start to gather at daybreak the next day, believing that this will bring them closer to the Virgin. The archbishop leads the image to the carriage at 7 o'clock, while bells ring and fireworks explode. There are 15 days of festivities culminating in a religious procession; the Children's Cirio, and the Re-Cirio, which includes a shorter route back to the Gentil Bittencourt chapel. There are various cultural elements of the celebration that reflect Brazil's multicultural society. The blending of the sacred and profane makes this event aesthetically pleasing, touristic, social, and culturally relevant. Some families transmit the celebration, with young children and teenagers accompanying their parents to the festivities. For many, the Carnivale is an annual event; for others, it's a place for public demonstrations. | Belief • Entertainment and Recreation • Ritual | Brazil | ||||||||
| Clinker Boat (edit) | Traditional Nordic clinker boats are open wooden boats, between five and ten meters long. Nordic peoples have been building clinker boats using the same basic techniques for almost two millennia, including the indigenous Sami peoples of Finland, Norway, and Sweden, as well as the Kvens, Tornedalians, and the Swedish-speaking population in Finland. Lapstrake or Clinker building is the process of building boats where the edges of the hull planks are overlapping. The shorter planks of the hull can be joined end to end in larger vessels to make the longer strake or hull plank necessary. Clinker-built boats originated in Scandinavia and were used by the Anglo-Saxons, Frisians, and Scandinavians when building vessels known as cogs in the Hanseatic League. In large vessels, carvel construction, (where plank edges are glued together smoothly, seam to seam), has supplanted clinker construction as capacity needs have outgrown their limits. The clinker boats are still primarily used in traditional festivals, regattas, and sporting events, and approximately a thousand people earn a living by producing, maintaining, or using clinker boats. Many of these boats are owned by individuals who take short trips or spend their summer vacation on them. Some boats are also owned by associations, and their purpose is to provide people with a chance to try out sailing following the traditions of previous generations. Associations also provide training to children and young people with traditional sailing skills and the daily chores of their ancestors. Sailing traditional boats is often passed down from parents to children through events and competitions. These seem to be the best way to preserve the tradition. Most likely, this tradition will remain relatively unchanged. There will continue to be people who want to continue building boats, even if orders are few and far between. It is also likely that boats that the previous generations used for work will be purchased and used in the future. There are 200 traditional clinker boats in good sailing condition in Finland today, excluding wooden pleasure crafts with keels, such as the folk boat. Their purpose is to create a connection to the old culture and learn how to navigate the waters and live by the sea. Ten associations can be identified as traditional boat associations, and many regular boat clubs have a special division that maintains traditional sailing practices and manages museums. | Art • Craftsmanship and Practices • Entertainment and Recreation | Finland | ||||||||
| Coaxing Ritual (Inge Khööslökh) (edit) | Among the most interesting Mongolian customs is the so-called 'coaxing ritual' for camels, also known as an 'inge khööslökh'. It is performed when a camel is rejecting its newborn calf or the orphaned calf needs to be adopted. The Mongolian steppes are a land of endless steppes, herders, and nomads, descendants of the infamous Genghis Khan, who has successfully adapted to the particular natural conditions. Since the nomadic way of life has always depended on animals, herds have been the alpha and omega for the migrating Mongols. The material and spiritual culture of the Mongols is connected to the surrounding environment and animals. Khööslökh is more common in the desert areas, where people herd large numbers of camels. These areas include the Mongolian administrative provinces of Aimags Dundgovi Province, Omnögovi Province, and Bayankhongor Province. There are slight differences in the way the custom is played and sung, depending on the particular area, as well as the way a female camel behaves. This would imply that the ritual could be simply played with the morin khuur, although sometimes heartfelt songs, or khöös, could be performed, or spontaneous melodies could be created according to an instrument. This rite consists of playing a two-stringed instrument, known as a morin khuur, and singing the khöös (mng. xeeс) a monotone song accompanied by gestures and chanting near the mother and calves. Depending on how the mother reacts to the calf, the coaxer changes the melody and gradually coaxes her toward acceptance. Rituals are performed by camel handlers at dusk or twilight and require a talent for singing and musical skill on instruments such as horsehead fiddles and flutes. Most herdswomen perform rituals using techniques and methods of coaxing, but professional coaxers can be enlisted to perform when there is no singer available locally. These rituals act as a symbol for creating and maintaining social ties between nomadic families and their communities. However, changes in the social and cultural environment have negatively affected its survival. These days, unfortunately, only a few Mongolian pastoralists maintain this rare tradition of coaxing camels. Though the knowledge of this ritual is passed down from generation to generation, it is slowly disappearing due to the westernization of Mongolia and urbanization. As of today, motorcycles are preferred to camels as a mode of transport, and the migration to urban areas has lowered the number of young herders. The new generations lose touch with their traditional ties to pastoral husbandry. | Ritual | Mongolia | (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities • (15) Life on Land | |||||||
| Cocolo Dance Drama Tradition (edit) | When a wave of African immigrants came onto Hispaniola once the Spaniards settled inside of the land, they brought with them numerous traditions. These traditions were then woven into the culture of the Dominicans. Among the many groups of immigrants was the Cocolo tribe who originally came from the Bahamas and the Greater Antilles. These people are mostly referred to as English-speaking Caribbean people who brought with them a culture that has elements of both European and African cultures. As many have noted before, this represents the convergence of African slaves and European colonizers. Their political and social-economic authority is still strong. Years after they settled on Hispaniola, the Cocolo dance-drama tradition developed. The Cocolo dancing drama eventually became the most distinctive expression of the Dominican culture, which became established during the mid-19th century. The assimilation of the Cocolo descendants into the Dominican Republic in the last few decades has caused their culture to disintegrate. However, as you can still see in certain areas of the Dominican Republic, the Cocolo dancing drama tradition remains strong. Traditionally, this dance drama was performed at Christmas and Carnivals. However, these days it's only performed once a year in San Pedro de Macoris, a province inside the Dominican Republic where the Cocos originally settled. A Cocolo Festival is held in January, featuring music, dances, and songs that are patterned after traditional Cocolo music. African and European influences have created these songs, making them unique in the Dominican Republic, as well as unique from other pieces of music throughout the planet. In their performances, ideas from many worlds are creatively united. African music and dance genres blend with plots, legends, and figures taken from biblical and medieval European literature. One of the many activities includes Christmas caroling, performers of string and scratch bands, the so-called Niega business, involving masquerades, and staging of theatrical scenes including “David and Goliath”, “Moko- Yombi”, and “Cowboys and Indians”. Only one troupe of performers remains today. Among the stories most often read during the Cocolo Festival are Mummes’ Play. This story tells the story of the fight between Saint George and his enemy. In summary, this reflects the theme of the Cocolo dance drama - the struggle between good and evil. This fusion of African and British cultural themes, as well as the adaptation of these themes to a Spanish Catholic context, is a unique expression of creativity. Many older members of the Cocolo community still speak Caribbean English at home, but others are monolingual in Spanish. Today, the Cocolo community is dispersed throughout the Dominican Republic, and many have assimilated into broader Dominican society. It is because of this development that the older generations of Cocolo have had difficulty transmitting their knowledge to younger generations, preserving their specific institutions, and keeping alive the tradition of dancing drama. ==References== [https://ich.unesco.org/en/RL/cocolo-dance-drama-tradition-00104] [https://en.wikipedia.org/wiki/Cocolo_(dance)] [http://www.privinfo.com/members/dominican-republic-holidays/dominican_republic_holidays__the_cocolo_festival.php] | Dance • Entertainment and Recreation • Music • Ritual • Verbal Arts and Literature | Dominican Republic | (10) Reduced Inequalities • (16) Peace • Justice and Strong Institutions | |||||||
| Colinda (edit) | Colindat or colindă also known as colinde, colind, colinduri is a traditional ritual Christmas carol in Romania and can be also found in the Republic of Moldova. It is performed throughout both countries, with regional variations in terms of the number of participants and the exact timing of the melodies and lyrics. Some rituals used around Christmas have roots in pre-Christian practices, having their roots in the Roman Saturnalia and pagan rituals associated with the winter solstice and soil fertility. Although the text of the colinda is concerned with the events of the Nativity, certain elements of the colinda have probably been around since the ancient Romans. They are inspired by the Holy Scripture and Holy Tradition, the religious services, and the iconography. When heterodox proselytizing broke the unity of the Orthodox faith and tried to dismantle national unity, colinde had a role to play in preserving and defending the Orthodox faith. There were colinde everywhere in Romania to honor the Mother of God, who occupies a central place in piety and Orthodox worship, and to show her love for her loved son Jesus Christ. Romanians have traditionally celebrated colinde as a village tradition starting well in advance of Christmas. Youth (usually boys) from different village areas would form groups in different places in order to sing in unison with one another. These groups, called cetes de colindători, vary in numbers, and they would go to different houses on Christmas Eve to begin singing. Afterward, the host offers the singers ritual gifts and money. The songs have epic content that is adapted to the circumstances of each individual host. In addition to performing auspicious songs, ritual performers will dance with unmarried girls – a practice that is supposed to help them find a husband within the next year. Colindat can be performed in costume, accompanied by instrumental accompaniment and choreography. Young male actors (traditionally unmarried) are the main bearers and practitioners of the element; experienced male actors, often former group leaders, train the groups. In some areas, children are also permitted to attend these rehearsals to learn the repertoire. Many families would invite the visitors into their homes, and gift them with different small gifts such as nuts, dried fruits, and colaci. In some villages, the visitors head first to the mayor's house, then to the teacher's house, whereas in other villages there is no predetermined order. However, the rituals are learned at daily rehearsals from when the group is formed until Christmas Eve. As well as conveying the season's best wishes, these songs support social identity and help to ensure cohesion. ===References=== (https://ich.unesco.org/en/RL/mens-group-colindat-christmas-time-ritual-00865) (https://en.wikipedia.org/wiki/Colind%C4%83) | Belief • Music • Ritual • Verbal Arts and Literature | Moldova • Romania | (11) Sustainable Cities and Communities | |||||||
| Community Festival of Campo Maior (edit) | Portuguese people celebrate the Community Festival of Campo Maior by decorating the streets of Campo Maior with millions of paper flowers of different shapes, colours and patterns. The Campo Maior in Alentejo, located just a few kilometers from Badajoz (Spain), is a former fortress which had passed from Portuguese to Spanish hands numerous times. Every few years, this small town holds a very special festival. On the streets are hundreds of paper blossoms painted to resemble real buds, giving you the illusion that you are in a magical realm filled with flowers! The festivities are based on the cult of St. John the Baptist, the patron saint of Campo Maior since the 16th century. The tradition of decorating the streets began in 1897. This is the year that marks the beginning of the festival. Historically, this Festival has been celebrated as part of religious celebrations for St. John the Baptist. Celebrations to remember the Precursor of Christ began in honor of the saint in the 18th century. It originated from gratitude for the saint for having protected and saved Campo Maior during a siege by invading troops. It is already a highly regarded event both nationally and internationally. Even though they no longer hold this title, their presence endures. They carry the saint's image on a small procession through the streets. Their tradition is passed on within families and in schools. By tradition, the celebration only takes place when the people want it, since its realization requires the volunteerism and willpower of Campomaiorenses. The festival is also known as Festas do Povo, and gained prominence from 1989 onwards, when the number of visitors doubled. In 2011, there were 1 million visitors, with 104 streets decorated. The celebration of this festival was always marked by high irregularity, whether due to political reasons or to mere chance. Street commissions in the community decide on the date and develop the concept of the decorations and color theme. Then, members work on the decorations over a period of nine months. Each street is independently responsible for preparing the festivities, and the work done in each street is kept a secret. Even for friends and family members of the residents, the decorations are only made known on the night of the “enramação” – the night when the streets are decorated. There have been 20 editions of the parties that we see today, and their numbers have been increasing. For the 2011 Festas do Povo (27th of August to 4th of September), 104 streets participated, while in previous editions only 15-20 streets were decorated. This feat clearly demonstrates the vitality and importance of these events to the community of Campo Maior. The variety of beauty found in the “enramadas” streets is astonishing. It is certainly worthwhile of praise and praise for a job that takes seven months to complete, to be applied to each street one night on each side of the border. On the morning that begins yet another edition of the Festivals, the village is transformed into an authentic flower garden with no social distinctions. The day of the festival is filled to capacity with community members. | Art • Belief • Craftsmanship and Practices • Entertainment and Recreation | Portugal | (04) Quality Education • (11) Sustainable Cities and Communities • (16) Peace • Justice and Strong Institutions | |||||||
| Congolese Rumba (edit) | The Congolese rumba is a music genre and a dance that is predominant in urban areas of the Democratic Republic of the Congo and the Republic of the Congo. It is a form of dance music that originated in the Congo area in the 1940s, and gained popularity throughout Africa during the 1960s and 1970s. Congolese rumba is generally performed by a man and woman, and its origins are in an ancient dance named nkumba (waist in Kikongo). As a result of the use of language in the lyrics, it is called Lingala in Kenya, Uganda, and Tanzania. In Zambia and Zimbabwe, due to the influence of Congolese music, it is called rumba and is also an individual dance form. It is used for celebrations and mournings, and in places of worship. Congolese rumba is performed by professional and amateur orchestras, choirs, dancers, and individual musicians, and women have played an essential role in developing the religious and romantic styles of the music. Though rumba has African roots, many think of the dance as being associated with Latin dance. Indeed, Cuban rumba was awarded UNESCO intangible cultural heritage status in 2016. To Africans, Cuban popular music sounded familiar, so Congolese bands began doing Cuban covers, using Spanish as a phonetic translation. As a musical style developed in Cuba during the 19th century, rumba was a combination of African slave drumming and Spanish colonial melodies. Yet the rhythm had its distinctive characteristics, so much so that when vinyl records were exported to central Africa in the 20th century, it was immediately recognizable as the rumba. Musicians pass down their tradition through neighborhood clubs, traditional training schools, and community organizations. Rumba musicians maintain clubs and employ apprentices to continue manufacturing instruments. Congolese rumba is also an important economic force, as more orchestras have begun to develop cultural entrepreneurship to help reduce poverty. It is considered an essential part of Congolese culture and is seen as a means of conveying social, and cultural values, and promoting intergenerational and social cohesion. "Rumba is still rumba, we try to add more harmony and more chords, but with the same Congolese rumba as its base," states Fred Kabeya. There’s no doubt that rumba has an impact on cultures around the world, and its champions claim it will benefit the next generation. | Art • Dance • Entertainment and Recreation • Music | Democratic Republic of the Congo • Republic of the Congo | (01) No Poverty • (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities | |||||||
| Cooperatives (edit) | A cooperative is a nonprofit organization composed of volunteers that provide social, cultural, economic, and educational services to members of the community. Its goal is to improve living standards, overcome shared challenges, and encourage positive change. In Germany, a quarter of the population is members of cooperatives, which include 90 percent of its bakers and butchers, as well as its farmers and craftspeople. In the middle of the 19th century, two men independently founded credit cooperatives that could be traced back to this idea: Franz Hermann Schulze-Delitzsch and Friedrich Wilhelm Raiffeisen. By extending microloans on favorable terms, they helped farmers regain their independence, at a time when social hardship was intensifying as a result of industrialization and migration to the towns. Cooperatives are based on the principle of subsidiarity. Subsidiarity emphasizes personal responsibility before government action and allows the community to grow through sharing the common interests and values of its members. They help to support seniors, generates jobs, and come up with innovative solutions to societal problems. A range of people can join, with members able to participate in the association's future and purchase shares. Low-interest loans are available to farmers, artisans, and entrepreneurs. Due to their value orientation and democratic decision-making process, cooperatives are different from limited liability companies and joint-stock companies. Some cooperatives are specifically set up for students to gain knowledge and experience in the industry. Cooperatives, universities and federations such as the German Cooperative and Raiffeisen Confederation, the Akademie Deutschen Genossenschaften, Hermann-Schulze-Delitzsch Society, and Friedrich-Wilhelm-Raiffeisen Society transmit knowledge and skills. Germany's Deutsche Gesellschaft for International Cooperation (GIZ), working in partnership with the Federal Ministry for Economic Cooperation and Development (BMZ), supports agricultural cooperatives in developing countries and emerging economies. One of many successful cooperatives is Akkain Ouargane, an argan oil cooperative in southwest Morocco that has worked with women to produce and market argan oil. Previously, men would sell it by the roadside; now it's a profitable export product. As a tradition since 1923, the International Day of Cooperatives takes place on the first Saturday in July. In 2015, it was celebrated on 4 July as a way to promote the value of solidarity, economic efficiency, and equality. | Craftsmanship and Practices | Germany | ||||||||
| Corongo's Water Judge System (edit) | In Northern Peru, the people of the district of Corongo have developed a system of water management and historical memory called the Traditional System of Corongo's Water Judges. This system is a way of organizing people. It is based on an ancient method of managing water that dates back to pre-Inca times. It is primarily aimed at supplying water fairly and sustainably, which is translated into proper land stewardship, which ensures the existence of water and land for future generations. The judges are responsible for the management of water such as maintaining the canals and ensuring that they are conserved as well as organizing various festivals such as Easter, Three Kings, Carnivals, Holy Week, and San Pedro. Water Judges System regulates the agricultural tasks of the people of Corongo, and the top authority is the water judge, who manages the water and organizes the main Corongo’s celebrations. A crucial component of Corongo's cultural identity and memory, it complies with the fundamental principles of solidarity, equity, and respect for the environment. Water governance is enabled through ritual performance, which relates to the ancient lived and embodied relationship of the Coronguinos with the natural environment. Water Judges are part of the Coronguinos' natural resource governance system, as well as their communal identity and heritage. The current iteration of this system, along with the rituals that accompany it, date back to the nineteenth century and are a result of syncretic interactions that can be traced back millennia. Families and communities transmit its importance and value to younger generations through dances that are connected to the city's system and are taught at all levels of education. One of the main values passed on is the connection between St Peter and water, and thus wellbeing and prosperity; children learn about this relationship either through participation in religious celebrations or through oral traditions. Peruvian President Martin Vizcarra noted “Water is one of the resources the population is struggling to access as a result of climate change. Being recognized by UNESCO means that you contribute to educating humanity and that you have a successful system," he said. More important than the UNESCO award is the recognition of the tradition which is passed down from generation to generation, which is valuable and gives people a sense of pride." According to the Peruvian leader, this successful model should be copied by all the country's water basins, to develop a flexible use of the natural resource for all Peruvians. And achieving this equitable and sustainable water provision is based on three fundamental principles: solidarity, equity, and respect for nature. | Craftsmanship and Practices | Peru | ||||||||
| Corso culture in the Netherlands (edit) | The Corso is an event in which neighborhoods compete to make the best float, and the float judged best by the jury wins a prize. Families or neighborhoods often spend months preparing elaborate floats, bringing in fresh products (flowers, fruit, and vegetables) in the final days before the event. The annual parade has been around since the late nineteenth century. It is particularly widespread in the south of France and Italy but spread as far as the Netherlands in the nineteenth century. The parade takes place on streets or on rivers and is often accompanied by live music performances and theater performances. Some of the festivities happen at night when the floats are illuminated. A float can be up to 20 meters long and 10 meters high and be either propelled by a motor or pushed manually. The number of people in each building group varies from a dozen to a few hundred. Occasionally a flower field is maintained. In each corso, building groups or neighborhoods build a creation every year, and sometimes groups also maintain a flower field. In total, around 75,000 volunteers actively work on the creations. In addition to the Corso’s, other volunteers also participate during the event, such as jury members, dancers and actors, musicians, guilds, traffic controllers, procession leaders, photographers, etc. This totals an estimated 5,000 volunteers. Every year, the corso events attract more than 1,500,000 visitors from home and abroad, while the television broadcasts are viewed by more than 2,000,000 people nationwide and internationally. The local and regional governments are also closely involved in Corso culture. This includes facility services, grant programs, building permits, and the preservation of the environment. Throughout the country, there are thirty corsos, and the majority of corsos take place in villages. Most of the corsos have their own construction site, either in or outside the village where the parade takes place. The procession of floats passes through a village, the public watching it along the road, or from stands. Some corsos are mobile, but others are still flower mosaics. Corsos often use flower bulbs in the spring (tulip, hyacinth, daffodil) and dahlias in the summer. They can be harvested and exchanged several times, and in the winter, they can be stored. Alternatives include vegetables, flowers, horticulture, bark, seeds, plants, etc. This collaboration is documented in the Register of Inspiring Examples of Safeguarding, which shares the methodology for setting up a national collaboration of the Corso association. It is important to note that Corso culture is not just about the parade and competition; sharing a drink or meal together after working on the floats and organizing regular parties is also an important part of the Corso, creating a sense of social cohesion and solidarity, which is often the main motivator for participating in the event. Corso culture is passed on through apprenticeships, school programs, and participation in the annual parade. | Art • Craftsmanship and Practices • Entertainment and Recreation • Music | Netherlands | (04) Quality Education • (05) Gender Equality • (12) Responsible Consumption and Production | |||||||
| Cossack Songs (edit) | Cossack songs are folk songs composed by the Russian Empire's Cossack tribe. They have been influenced by the music of Russian and Ukrainian people and North Caucasian music as well as by original work by Russian composers. Communities sang Cossack throughout Dnipropetrovsk, Ukraine, telling stories of war, and war’s tragic consequences, as well as the personal relationships among Cossack soldiers. There are several subgroups of Cossack songs, including Don, Terek, Ural, and others. Cossacks are an East Slavic Orthodox Christian ethnic group that originated in the steppes of Ukraine and Russia. They were semi-nomadic, semi-militarized, and allowed a great degree of self-governance in exchange for military service, but this was in exchange for nominal suzerainty of various Eastern European states. They lived in sparsely populated areas of the Dnieper, Don, Terek, and Ural river basins and played an integral part in both the historical and cultural development of Ukraine and Russia. There were different Cossack groups, organized according to military lines. Each host had a territory made up of affiliated villages called stanitsas. There are three groups of singers practicing the tradition, Krynycya, Boguslavochka, and Pershocvit. The songs are sung for pleasure and to connect with the past - their ancestors and the history of the community. Most of the singers, men, and women, are in their 70s and 80s and have been practicing this music for most of their lives. It takes two main performers to perform the song: the first one has complete knowledge of the lyrics, and then the second - with an upper voice - follows with the rest of the group (with a middle and lower voice). In the absence of male singers, females imitate their voices by creating a deeper tone. The singers usually meet frequently and are often invited to give a concert. Traditions are passed from one generation to another, but the continuity of Cossack songs is now in question because of the aging bearer population and the lack of other sources of knowledge for the new generations to draw upon. While not requiring an audience, the singers normally meet regularly and give concerts occasionally. However, their continuity is under question due to an aging population and a lack of other sources of knowledge to learn from. | Music | Ukraine | (11) Sustainable Cities and Communities | |||||||
| Couscous (edit) | Couscous is a dish traditionally associated with North Africa that consists of steamed granules of durum wheat semolina. Couscous is a staple food in the Moroccan, Algerian, Tunisian, Mauritanian, and Libyan cuisines as well as in France and Sicily, where immigrants from the Maghreb introduced it. There are some obscurities regarding the exact formation of couscous, also known as cuscus or kuskus, which derives from Berber. The origin of couscous is unclear. Food historian Lucie Bolens believes it originated millennia ago during the reign of Masinissa, the last berber king in Numidia, present-day Algeria. In the city of Tiaret, Algeria, traces of cooking vessels resembling couscoussiers have been found in graves dating back to the 3rd century BC. Preparing couscous is a ceremonial process involving several different operations. It begins with growing the cereals, then grinding them to form semolina, which is rolled manually and then steamed. Then it is cooked. The knowledge, know-how, and practices about its production include preparation, manufacturing conditions and tools, associated artifacts, and circumstances of consumption. Nowadays, as in the past, how couscous is prepared to have a certain sum of knowledge and know-how that is passed between people informally by observation and imitation. This is associated with a set of exclusive tools, instruments, and utensils. The dish is served with a variety of vegetables and meats, depending on the region, season, and occasion. A clay utensil is produced by a potter, while a wooden utensil is manufactured by a cooperative or artisanal factory, often family-owned. The size of the couscous is around two millimeters, but there is a larger variety (three millimeters) known as Berkoukes, as well as an ultra-fine version (around one millimeter). In Morocco, Algeria, Tunisia, and Libya, this variety is generally served with vegetables such as carrots, potatoes, and turnips cooked in spicy or mild broths, as well as meat (usually chicken, lamb, or mutton). In recent decades there have been formal forms of transmission outside the family circle or the home. Non-culinary aspects – such as rituals and oral expressions – are also transmitted by the bearers. This dish evokes many symbols, meanings, and social and cultural dimensions connected with solidarity, conviviality, sharing food, and togetherness. Nowadays, couscous production is mostly mechanized, and it is sold in markets around the world. | Craftsmanship and Practices • Food | Algeria • Mauritania • Morocco • Tunisia | (03) Good Health and Well-being • (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities • (12) Responsible Consumption and Production | |||||||
| Cremonese Violin Craftsmanship (edit) | Venetian violin craftsmanship is known for its tradition of creating and restoring violins, violas, cellos, and contrabasses. Cremona violin is a traditional form of handicraft, which has been made since the 16th century in Cremona (Italy). In Cremona, there is an ancient tradition of violin making, which is protected by two supervisory bodies. The Stradivari Violin Makers Consortium and the Italian Violin Making Association represent approximately 140 craftsmen. Additionally, on September 12, 1938, the Cremona International Violin Making School (Scuola Internazionale di Liuteria di Cremona) was founded. A handmade violin is assembled from more than seventy different molded pieces of wood. It takes a specific technique to produce a new violin, and every technique is adjusted continually depending on the different acoustic responses of each piece of wood. Each piece is unique, which is why no two violins are exactly identical. There should be a specific type of wood used for each part of the violin, which is carefully selected and naturally seasoned. Due to the unique qualities of each piece of wood and the care required for each process, industrialization is not possible. Traditional Cremonese luthiers use no industrial or semi-industrial parts in their creations, and violins are varnished by hand, not sprayed. Many of the ornamental parts of the instruments serve an invisible purpose, such as enhancing projection, and tone, or protecting the violin from sustaining damage. It takes a high level of creativity to be a master craftsperson: the craftsperson must adapt general rules and personal knowledge to each instrument. To understand the needs of musicians, Cremonese violin-makers consider collaboration with them essential at all stages of their craft. This involves sharing their knowledge and listening to their feedback. Traditionally, a violinmaker must be knowledgeable about the natural materials used in creating instruments, as well as the techniques that have been passed down through words, gestures, and habits since the Cremona violin making became popular in the 16th century. Since Association Liutaria Italiana and Consorzio Liutai Antonio Stradivari promote traditional violin-making in Cremona, the art is considered fundamental to the identity of the city and its citizens and plays a significant role in social and cultural practices, rituals, and events held in Cremona. As a way to protect the tradition, Cremona's new Museo del Violino (Violin Museum) opened in 2013 after it was designated by UNESCO. The museum was fully renovated and equipped with a new auditorium for listening to music played with old and new instruments made in Cremona. ===References=== (https://ich.unesco.org/en/RL/traditional-violin-craftsmanship-in-cremona-00719) (https://en.wikipedia.org/wiki/Traditional_violin_craftsmanship_in_Cremona) | Art • Craftsmanship and Practices | Italy | (04) Quality Education • (08) Decent Work and Economic Growth • (09) Industry • Innovation and Infrastructure • (11) Sustainable Cities and Communities • (12) Responsible Consumption and Production | |||||||
| Cross-crafting (edit) | Cross-crafting is a Lithuanian folk art tradition that began in the 15th century. It is a combination of craftsmanship, artistry, and faith. There are many steps involved in the making and maintenance of crosses: determining the purpose (in honor of the deceased, God or saints, or protection), choosing the right craftsman, the creation process, the erection and consecration, visits to crosses, and ceremonies to chant and burn a collapsed monument. The wooden crosses carved from oak are associated with Catholic ceremonies and harvest celebrations. Once they are consecrated by a priest, the symbols gain sacred significance. In the nineteenth century, once they were integrated into the orthodox Russian Empire, they became the symbols of national and religious identity. Many generations ago, people built crosses at home to pray for better harvests, better health, and happiness. Since the 15th century, Lithuanians have built crosses to memorialize the dead and pay homage to their spirits. People never used to pass by a cross without lifting their hats. They prayed, unburdened their minds, or shared their joy with others as they would stop by a cross and show respect. Also, songs and prayers were used to demonstrate respect. Many people left offerings at the crosses and chapels they considered miraculous. Even when the construction of crosses was restricted or forbidden, cross-crafting remained a way of expressing resistance. These monuments became symbols of national identity and unity. The crosses measure between one and five meters high and are often decorated with a small roof, floral decorations, or geometric patterns. Occasionally they are decorated with statues, such as those of the Virgin Mary and various saints, who are often invoked for assistance in times of distress. Crosses are placed on both sides of roads, near monuments, and at cemeteries. As an offering, a wide variety of items are given, including food, rosaries, money, colored scarves (for example, for weddings), or aprons, asking for fertility. As a symbol of unity within the village, a cross also serves as an effective meeting place. Since there is no special school for cross-crafting, the carving is taught by other artisans, while experience is gained by working independently, as well as by attending seminars and creative camps. Although cross-craft was forbidden throughout various periods of occupation, it did not stop people from resurrecting crosses during these periods. A good example of cross-crafting vitality can be seen in the ensembles of crosses, the most famous of which is the Hill of Crosses in the Šiauliai region. For now, there are more than 200 cross-craftsmen in Lithuania. Unfortunately, the rural exodus and the uniformity brought about by the influence of mass media are a serious threat to cross-crafting. Parishes ensure the care of the crosses, but further support is needed. ==References== [https://ich.unesco.org/en/RL/cross-crafting-and-its-symbolism-00013] [https://m.atostogoskaime.lt/en/craft-list/cross-crafting/] [https://savadas.lnkc.lt/crosscrafting.html] | Belief • Craftsmanship and Practices • Ritual | Lithuania | (04) Quality Education • (08) Decent Work and Economic Growth • (12) Responsible Consumption and Production | |||||||
| Cultural Space of Boysun District (edit) | The Boysun District in South-Eastern Uzbekistan on the Silk Road route from Asia Minor to India is an ancient area of Central Asia. The region became quite isolated as the importance of the Silk Road diminished, and political changes took place in Central Asia. This allowed the region to maintain ancient traditions, including Zoroastrianism, Buddhism, and Islam, among other religions. Boysun is a place in Uzbekistan where visitors can discover and experience the traditional culture that has been handed down through time and space since medieval times. Several traditional rituals remain intact in the country: the eve of the Navruz Festival consists of a sowing ritual with food offerings. Family rites also persist: the evil spirit is chased away 40 days after birth, accompanied by fire and ashes. Boys are circumcised with goat fights and various games, including wrestling and horse racing. In addition, ancient practices continue to be used for wedding ceremonies, funeral rites, and shamanic rituals to heal the sick. Other popular traditions from the area include ritual chants linked to annual festivals, epic legends, and dances, along with the accompanying wind or string instruments. The Shalola folk music ensemble has documented the legends, epics, and old melodies. In addition to collecting popular songs, the group has made an inventory of traditional instruments and costumes. Boysun is also famous for its quality spring water. The natural basin of Boysun supplies lifesaving water to approximately 82,000 residents. Although not exclusively used by residents, Boysun's mineral water is renowned for its healing properties. The Omonkhona mineral spring, for example, houses a shelter where people can rest and drink the mineral water. The Boysun region also has several sanatoria where those who are sick can be treated in a type of care facility. Those suffering from physical or mental pain can find relief at sanatoria. They combine the healing properties of the water with the vibrant beauty of the natural landscape. In the Cultural Space of Boysun, the lifestyle and culture of the Uzbek people have been established as a traditional and intangible cultural heritage space, fusing the Uzbek people's religion, folklore, and arts into a living communal space. Many different elements are gathered there, which makes it possible to transmit the traditions in different ways. It is typically transmitted through the organization of festivals and is further facilitated by modern media such as radio, TV programs, and the Internet that can take this tradition beyond its borders. Cultural policies during the Soviet era, however, leave little room for traditional Boysun artistic and cultural expression. Presently, there is a clear need for assistance in providing the communities with musical instruments and equipment for documentation of the various cultural expressions. ==References== [https://ich.unesco.org/en/RL/cultural-space-of-boysun-district-00019] [https://www.ichlinks.com/archive/elements/elementsV.do?elementsUid=13829896143291001130#:~:text=The%20cultural%20space%20of%20Boysun,peculiar%20way%20of%20historical%20development] [https://www.ichlinks.com/story/storyV.do?ichstoryUid=138266867337840044] | Craftsmanship and Practices • Dance • Entertainment and Recreation • Ritual | Uzbekistan | (02) Zero Hunger • (04) Quality Education • (12) Responsible Consumption and Production • (16) Peace • Justice and Strong Institutions | |||||||
| Cultural space of Jemaa el-Fna Square (edit) | Among the most prominent cultural spaces in Marrakesh, Jemaa el-Fna Square is one of the most iconic defining symbols of the city. This icon represents a unique concentration of popular Moroccan cultural heritage through its representation of musical, religious, and artistic expressions since its foundation in the eleventh century. The square dates back to the founding of Marrakesh by the Almoravids in 1062, and the importance of this square increased when the Almohads took the city in 1147. Since at least a thousand years ago, this square has served as a market and a gathering place in the heart of the city. Here, fearsome rulers once performed public decapitations as a means of keeping their subjects in line. The first documented evidence of its existence dates back to 1573. It was Luis del Mármol Carvajal, a Spanish explorer who first described Coimbatore as "a large square, in the middle of which is a mound of earth that rises higher than the nearby shops and houses, where criminals are hung". Several hypotheses have been put forth regarding the name of the square, with some saying that it means “assembly of annihilation” since it was the place where those who committed crimes were executed; others believe that “assembly” or “meeting” may refer to the fact that executed heads were displayed around the square as if they were having a meeting. This triangular square, which can be found at the entrance to the Medina, is surrounded by restaurants, stands, and public buildings. The square attracts both the local population and tourists from elsewhere. Locals and tourists alike come here for everyday commercial activities and various forms of entertainment. Throughout the day, many services are offered, including traditional medicine, dental care, fortune-telling, preaching, and henna tattooing. One may also purchase water, fruit, and traditional food. In addition, one can enjoy tale-tellers, enactments by storytellers, musicians, snake-charmer, Gnaoua dancers, and senthirs (hajj) players. Oral expressions were continually renewed by traveling bards, who wandered through Berber lands. In addition to combining verbal and visual presentations to teach, entertain, and charm the audience, they have adapted their art for the contemporary context by improvising on the outline of an ancient text. This has made their recital more accessible to a wider audience. A major place of cultural exchange, Jemaa El Fna Square is undeniably the international symbol of Marrakech and, more widely, of Morocco. The art space has been protected as part of Morocco's artistic heritage since 1922, but it has faced serious threats since urbanization, particularly real estate speculation and the development of the road infrastructure. Though Jemaa el-Fna Square enjoys considerable popularity, its cultural practices are subject to acculturation as a result of widespread tourism. ==References== [https://ich.unesco.org/en/RL/cultural-space-of-jemaa-el-fna-square-00014] [https://thinkmorocco.com/jemaa-el-fnaa-square/] [https://www.atlasobscura.com/places/jemaa-elfna] [https://www.lesjardinsdelamedina.com/blog/en/2021/04/07/jemaa-el-fna-the-famous-square-of-marrakech/] | Craftsmanship and Practices • Entertainment and Recreation | Morocco | (03) Good Health and Well-being • (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities • (16) Peace • Justice and Strong Institutions | |||||||
| Cultural Space of Palenque de San Basilio (edit) | The village of Palenque de San Basilio has an approximate population of 3,500 people. It is located in the foothills of the Montes de María Range, southeast of the regional capital, Cartagena. Palenque de San Basilio was built by emancipated slaves in the seventeenth century as a sanctuary. Only a few have survived, and San Basilio is one of many settlements that existed during that time. Residents of Palenque are referred to as Palenqueros. Their isolation from the rest of the world dates back centuries. This has allowed them to preserve their African culture and infuse it with Spanish culture, resulting in a highly distinctive cultural space. In 1691, the Spanish issued a Royal Decree declaring their freedom, provided they stopped freeing slaves from the plantations of Cartagena. The Cultural Space of Palenque de San Basilio includes social, medical, and religious practices along with musical and oral traditions. Some of these traditions have their roots in African cultures. The social organization of this community is based on family networks and age groups called ma kuagro. Membership in these groups entails certain rights and duties toward others, as well as strong internal solidarity. Each kuagro member participates jointly in work and in special events. A complex system of funeral rituals and related medical practices reflects the distinct spiritual and cultural outlook of the Palenque people on life and death. Musical expressions such as Bullenge sitting, Son Palenquero, or Son de Negro accompany festivities such as baptism, weddings, and religious events, as well as leisure activities. The Palenquero language has been central to the cultural space of Palenque de San Basilio. There is no other creole language in Latin America with a lexical Spanish basis and grammatical characteristics that are so similar to Bantu languages. Palenque women, or Palenqueras, were famous as master saleswomen who wore colorful dresses with a turban-like head covering. They are known for their incredible looks, as well as their delicious cooking. Palenque food is widely known and desired across the globe. Its recipes won awards in 2014 for Gourmand World Cookbook Awards and have been included in over 15,000 cookbooks throughout the years. San Basilio de Palenque is influenced by Spanish, Caribbean, and South American cultures. This is a settlement that is documented as being the first free African settlement in the Americas. It represents African resistance to the Spanish from the time of the legend Benkos Bioho to the present day. San Basilio de Palenque represents African pride, African strength, and African freedom. Sadly, the cultural space of Palenque has not only been attacked by economic changes that affect local production methods. In addition, it has been attacked by the armed conflict within Colombia between paramilitary and local guerrilla groups. Outside of Palenque, the inhabitants of the city are commonly subjected to discrimination and ethnic stereotyping, which robs them of their cultural values. ==References== [https://ich.unesco.org/en/RL/cultural-space-of-palenque-de-san-basilio-00102] [https://www.ontheshoulders1.com/the-giants/san-basilio-de-palenque-the-first-free-african-settlement-in-the-americas#/] | Belief • Craftsmanship and Practices • Dance • Food • Music • Verbal Arts and Literature | Colombia | (03) Good Health and Well-being • (04) Quality Education • (05) Gender Equality • (10) Reduced Inequalities | |||||||
| Cultural Space of Sosso-Bala (edit) | Known as the Sosso-Bala, the sacred balafon instrument has been considered to embody the freedom and unity of the Mandingue people, who reside across a territory that once belonged to the Empire of Mali. According to the legend, the balafon was once owned and played by King Sumaoro Kanté, who succeeded to the Sosso throne in the early thirteenth century. It was passed down through the centuries through epic poems such as the Sunjata epic which tells the glory of the builder of the Mali empire. Sundiata Keita, the founder of the Mali empire 800 years ago, is said to have appointed Kouyaté's family to safeguard the balafon. Since that time, every male relative has been taught to play what is considered a sacred instrument. This instrument is a type of xylophone and is about 1.5 meters in length. There are 20 slats carefully cut into different lengths, each with several calabashes underneath. Several manuscripts and oral histories say that the balafon was either manufactured by the King himself or given to him by a genie. The original Sosso-Bala is kept in a round mud hut in Nyagassola, the village in northern Guinea in which the Dökala family lives. The Balatigui, the patriarch of the Dökala family, is the one authorized to play the instrument at significant times. This includes the festival of the Muslim New Year and when someone is buried. The Balatigui is the guardian of the instrument. He is the only person permitted to perform on significant occasions. It is the responsibility of the Balatigui to teach the Balafon to children from the age of seven onwards. Many of the songs played with the Balafon are not simply for entertainment, but are also related to war and the happy celebration of victory. The Sosso Bala has evolved from being a tool of oppression in the hands of a tyrant to be a tool of cultural healing and unity under Sunjata Keita and his griot. The Mande people have used it for years as a symbol of their unity and freedom. Over the past few years, the Balatigui and other members of the Dökala family, who are hereditary musicians, have worked to pass on this knowledge and skill to future practitioners. In addition to being a national treasure in Guinea, the over 800-year-old instrument represents the glorious past of the Mande peoples. Today, the African tradition of playing the balafon plays an important part in preserving their cultural identity. However, the progressive reduction in the number of pupils due to rural migration is perceived as the main threat to this tradition. In addition, the fragile infrastructure and the challenging living conditions in Nyagassola have also contributed to the crisis. ==References== [https://ich.unesco.org/en/RL/cultural-space-of-sosso-bala-00009] [https://face2faceafrica.com/article/malis-13th-century-instrument-sosso-bala-is-the-worlds-oldest-balafon] [https://fr.wikipedia.org/wiki/Sosso_Bala] [http://www.african-music-safari.com/african-balafon-history.html] | Craftsmanship and Practices • Music • Ritual • Verbal Arts and Literature | Guinea | (04) Quality Education • (08) Decent Work and Economic Growth • (12) Responsible Consumption and Production • (16) Peace • Justice and Strong Institutions | |||||||
| Cultural Space of The Bedu (edit) | There is a particularly rich amount of intangible cultural heritage in Jordan. This comprises the traditions and living expressions of their ancestors that are inherited and passed on to their descendants. Some of these include oral traditions, performing arts, social practices, rituals, and festival celebrations. One example of cultural heritage from Jordan is the culture of Bedu. Traditionally in the southern part of Jordan, particularly near Petra and Wadi Rum, the Bedu people live in settled and nomadic communities living within semi-arid highlands and deserts. The Bedu traditionally live in tents, working with livestock. Their communities and culture have long been built beneath the stars of the sky. Several Bedu tribes, namely the Bdul, the Ammarin, and the Saidiyyin, continue to use ancient Nabatean water-collecting cisterns and caves near Petra. The Bedu communities residing in these areas keep alive a traditional pastoral culture and related skills. Specific knowledge about the flora and fauna of Petra and Wadi Rum, traditional medicine, camel husbandry, tent-making, and tracking and climbing skills have also been preserved. Throughout history, the Bedu have developed an extensive knowledge of their environment and a complex moral code. This knowledge has been preserved in various forms of oral expression, including poetry, fairy tales, and songs. These forms are closely connected to particular places and the history of these communities. Although tourism increased throughout the 20th century in Petra, the Bedu continued to practice traditional activities including goat pastoralism and rainfall farming of wheat and barley. In the late 1980s, most of the farming was done without the aid of mechanization. Farming was mainly done with ards, and the crops were harvested by hand. Milk is well-represented in the Bedouin culture by goat milk, which is taken daily to make a "yogurt," known as the "lambin" or laban, a highly storable dried form of yogurt. Bedu habitation included black tents made of woven goat hair, numerous masonry structures in natural rock shelters, and the occupation of empty Nabataean tombs. The latter has gained the most attention in recent years due to its visibility in the tourist trade. Currently, the Bedou community lives a sedentary lifestyle. Their journeys have been made more difficult due to national borders. Education, housing, health care, and sanitation have all been provided, making a sedentary lifestyle more attractive to many. Unfortunately, this has resulted in the erosion of the skills developed over generations by the Bedu. Nowadays, only a small minority of the original Bedu continue to live a nomadic lifestyle. Those who do live a semi-nomadic lifestyle - sedentary during the growing season and nomadic during the rest of the year. However, when they drive their flocks across the desert, they continue a tradition that originated thousands of years ago. ==References== [https://ich.unesco.org/en/RL/cultural-space-of-the-bedu-in-petra-and-wadi-rum-00122] [https://bedutours.com/who-are-the-bedouin/] [https://www.culturalsurvival.org/publications/cultural-survival-quarterly/bedul-bedouin-petra-jordan-traditions-tourism-and] | Craftsmanship and Practices | Jordan | (02) Zero Hunger • (03) Good Health and Well-being • (04) Quality Education • (11) Sustainable Cities and Communities • (12) Responsible Consumption and Production • (16) Peace • Justice and Strong Institutions | |||||||
| Cultural Space of The Brotherhood of The Holy Spirit of The Congos of Villa Mella (edit) | In the 16th century, the Brotherhood of the Holy Spirit of the Congos of Villa Mella was founded by enslaved Africans and mestizos. This brotherhood embodies one of the most significant traditional socio-cultural expressions of the Dominican Republic. It was deeply rooted in the history, geography, and culture of the country, and in particular, that of the community of Villa Mella. Brotherhood of the Holy Spirit of the Congos of Villa Mella is renowned for music, dance, and its popular festivities. The musicians of the Brotherhood play congos. These congos are hand drums that the Holy Spirit is attributed with inventing. The Brotherhood is currently open to members of all sexes, regardless of origin or gender. Historical reasons make the Brotherhood an influential part of the cultural identity of its members and the region. Based on accounts from the community of Villa Mella and Fradique Lizardo, the legend of the Brotherhood of the Holy Spirit of the Congos of Villa Mella asserts that some time ago, some people were seeking out a place to build their town when they found the Holy Spirit lying on a Copey trunk. As He turned to face the viewer, He was holding a white dove, in a flying position, surrounded by several musical instruments (congo mayor, conguito or conguito minor, canota, and maraca). When He was present, the brothers of this society were ordered to play the instruments and dance at wakes and other religious festivals. The brotherhood has undertaken this task of organizing and participating in social and cultural events, namely the Virgen del Rosario (October 7) and the Holy Spirit (Pentecost Sunday), as well as participating in the funeral ceremonies of the deceased who are in one way or another attached to the Congos' traditions. The Festival of the Holy Spirit, celebrated at Pentecost, features prayers, dances, and singing. During the ceremony, there is music played on congos and a procession with the dove that symbolizes the Holy Spirit. This happens during the wake, during the procession to the cemetery, and on the ninth day of mourning. Prayers are recited in front of a three-tiered catafalque holding a doll that represents the deceased. Three years after the deceased has passed away, the same catafalque will be prepared, and the living will take leave of the deceased, who will now become an ancestral figure. On this occasion, all the guests dance to the music of the congoles. Unfortunately, the perpetuation of the Brotherhood has been threatened by a lack of interest in the African and mixed cultures. The effects of urbanization, migration, unemployment, and standardization of values today reinforce prejudices and lead to a lack of understanding of the Brothers of the Brotherhood. ==References== [https://ich.unesco.org/en/RL/cultural-space-of-the-brotherhood-of-the-holy-spirit-of-the-congos-of-villa-mella-00006] [https://es.wikipedia.org/wiki/Congos_de_Villa_Mella] [https://en.wikipedia.org/wiki/Villa_Mella] | Belief • Dance • Entertainment and Recreation • Music • Ritual | Dominican Republic | (04) Quality Education • (05) Gender Equality • (10) Reduced Inequalities • (11) Sustainable Cities and Communities • (16) Peace • Justice and Strong Institutions | |||||||
| Cultural Space of Yaaral and Degal (edit) | The cultural space of Yaaral and Degal is an annual Fulani festival in the northern Nigger Delta of Mali. It is highlighted by the annual cattle drive of large herds of cattle, as they cross the river to pastures. The festival dates back for decades because of the Fulbe practice of transhumance with their livestock. The festival is attributed to the Fulani leader Séku Amadou, who ruled the region between 1819 and 1845. During December, the shepherds of the northern savannah belt drive their livestock from the northern semi-arid pastures of the Sahara to the town of Diafarabé, 350 kilometers north of the Mali capital Bamako. Diafarabé is in the Malian Sahel and is at the southern end of the Niger River, which can be crossed only by swimming. The shepherds swim alongside their cattle and hit the water with prepared sticks to help them cross the river. The cattle drive is strictly governed according to tribal rules. On the other side of the river, the families gather for a few days and celebrate what is significant to them, before the cattle – that have been nourished by the rainy season – are brought to the newly fertile pastures (bourgou) south of the Niger on Saturday, which is considered an auspicious day in popular Peul belief. The exact date of the celebrations is determined by the pasture and the river level. The various celebrations of the herding festival result in various cultural expressions. Competitions for the most beautifully decorated herd take place, and herdsmen recite pastoral poems about their adventures while trekking for months. Young women adorn themselves with lavish clothing and jewelry, singing their praises. This occasion is also used to ensure livestock receives the correct vaccinations. Public entities examine the condition of animals and estimate the costs associated with them. They've made a significant contribution to their way of life. Management of the pasturelands, marking out transhumance routes, and gathering herds at certain points have improved the organization of the event, which resulted in larger crowds. These have transformed these pastoral festivals into major events. Since they bring together members of all ethnic groups and occupations in the Delta – such as Peul cattle-breeders, Marka or Nono rice-growers, Bambara millet-growers, and Bozo fishermen – they reinforce inter-community pacts and social cohesion between the communities. The strong attachment of the community to these festivities ensures their continuity. Their numbers may be compromised, however, by the exodus of young people from the countryside and recurrent droughts affecting pastureland and herds. ==References== [https://ich.unesco.org/en/RL/cultural-space-of-the-yaaral-and-degal-00132] [https://www.unesco.emb-japan.go.jp/htm/d_ich_yaaral_degal.htm] [https://de.wikipedia.org/wiki/Kulturraum_von_Yaaral_und_Degal] | Craftsmanship and Practices • Dance | Mali | (02) Zero Hunger • (05) Gender Equality • (16) Peace • Justice and Strong Institutions | |||||||
| Cumbia (edit) | '''Cumbia''' is a folkloric rhythm and dance from Colombia. The origin of cumbia music comes from the days of slavery in the late 17th century and is derived from the African word “cumbe” which means dance. The basic cumbia steps originate from the fact that when the music itself was born, the slaves had their legs shackled and very minimal movement was possible. Another word was later derived later in the Antioquia region of Colombia called caracumbe and was coined by African slaves who worked in the mines. A third variation of the word called paracumbé emerged and then disappeared as well as the term cumbancha which in Cuba means party. One thing is for certain, cumbia was born of a cultural melting of Black and Indígena backgrounds. By the 1940s cumbia began spreading from the coast to other parts of Colombia alongside other costeña form of music, like porro and vallenato. Clarinetist Lucho Bermúdez helped bring cumbia into the country's interior. The early spread of cumbia internationally was helped by the number of record companies located on the coast. Originally a working-class populist music, cumbia was frowned upon by the elites, but as the music pervaded class association with the music subsided in Colombia and cumbia became a shared music in every sector of society. It has components from three cultures, principally indigeous and Black African and, in lesser extent, white (Spanish), fruit of a long and intense interbreeding between these cultures during the Conquest and the Colony. The researcher Guillermo Abadía Morales in his "Compendium of Colombian folklore", Volume 3, # 7, published in 1962, states that "this explains the origin in the zambo conjugation of musical air by the fusion of the melancholy indigenous gaita flute or caña de millo, i.e., Tolo or Kuisí, of Kuna or Kogi ethnic groups, respectively, and the cheerful and impetuous resonance from African drums. The ethnographic council has been symbolized in the different dancing roles that correspond to each sex." The presence of these cultural elements can be appreciated thus: * In instrumentation are the drums of African origin; maracas, guache and the whistles (caña de millo and gaitas) of indigenous origin; whereas the songs and coplas are a contribution of Spanish poetics, although adapted later. * Presence of sensual movements, distinctly charming, seductive, characteristic of dances with African and indigenous origins. * The vestments have clear Spanish features: long polleras, lace, sequins, hoop earrings, flower headdresses and intense makeup for women; white shirt and pants, knotted red shawl around the neck and hat reckless. | Colombia | |||||||||
| Damascene Rose (edit) | During the Levant’s crusades, Westerners introduced the rose to the Levant. This is why the Damascene rose was named after the Syrian capital, Damascus. It's not a native rose, but a hybrid rose between Rosa gallica and Rosa moschata. It has no original home. The practice of harvesting roses every year is widespread in Syria, particularly in Aleppo, Damascus, and rural areas. Damask rose cultivation currently occurs in Syria in al-Mrah town, located in eastern Qalamun province in northern Rif Dimashq province. Yellow soil is ideal for growing the Damask rose; it is fertile and rich in nutrients. According to the agricultural engineer, the flower grows best in soil that is well-drained and does not have a lot of salinity. The soil is fertilized with humus (decomposed organic materials such as leaves and animal waste) and no chemical fertilizer is required. The practices and crafts associated with the Damascene Rose are mainly practiced by Al-Mrah village farmers and families; they possess expert knowledge in producing essential oils and traditional medicines from the Damascene Rose, among other things. Al-Mrah village is the site of the yearly Damascene Rose Festival, which starts in May as the Damascene Rose begins to bloom and the annual festival kicks off. Farmers and their families go to the fields early in the morning to hand pick the roses and return home by the afternoon. The village women work together to make rose syrup and jam, as well as pastries as they sing along to local tunes. Apothecaries sell dried Damascene Roses for their medicinal benefits. The rosebuds are dried to make tea. The other rose petals are stored and prepared to be distilled. People from many surrounding villages attend the festival and take part in it. Dishes infused with Rose are presented by women, while a compilation of folk songs and incantations is sung by all the participants. The festival is a tribute to the element's importance for its bearers and their commitment to its safeguarding. People add the essential oil to wax melt burners or incense burners to get its fresh and pleasant scent. Rose oil is useful for a variety of purposes. The festival attracts villagers from the surrounding areas, they participate and enjoy the atmosphere. Women offer rose-infused dishes, and everyone sings a variety of folk songs and incantations celebrating the Rose. The festival honors those who are committed to safeguarding the element’s unfading cultural significance for the next generations. | Craftsmanship and Practices • Food | Syria | Al Mahrah | (03) Good Health and Well-being • (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities • (12) Responsible Consumption and Production | ||||||
| Dances and Expressions in Corpus Christi Festivity (edit) | The traditional Feast of Corpus Christi is celebrated every June in La Villa de Los Santos, Panama. The religious festival celebrates the body and blood of Christ and is a combination of Catholic tradition with popular practices in the area, like theater and burlesque dancers. The practice was introduced by the Catholic Church during the early Spanish colonial era. According to the legend, the first inhabitants of La Villa reached the banks of the river of the same name in 1569, but the Spanish Crown did not recognize the settlement until 1573. Many villages colonized by the Spanish had a church, known as San Atanasio de La Villa de Los Santos, and the main administrative buildings rose around it. A reason for the Conquest, however, was to convert the native inhabitants. With the Spaniards in contact with many people whose beliefs were different from their own, including Africans transported to the continent to serve as slave labor, the feast of Corpus Christi was born. Now it is one of the most popular festivals in La Villa, combining both ecclesiastical and popular expressions. In a theatrical and musical performance held the day before the festival, a battle is depicted between good or "clean" (Saint Michael the Archangel) and evil (the great devil with his legion) in the quest for the soul of man. The evil gangs, made up of about 15 men with red and black striped suits and hideous brightly painted masks and horns, are crowned with about 40 macaw tail feathers. There are several “dirty” and “clean” groups of demons and angels in Chitre and Los Santos during the two weeks of the Corpus Christi celebration. On the night of the feast, thousands of people dressed up in bull masks follow a priest carrying the monstrance, a metal container that contains the consecrated bread of the Eucharist. The sacrifice of the body of Christ is represented by the host. Dancing is performed on carpets made of flowers. After the procession is completed, the community members dance and gather in the streets or at home, where they share food and drinks. As a result of the huge local popularity of the feast of Corpus Christi, the Panamanian Institute of Tourism (IPAT) has decided to feature the festival as one of its tourist attractions. By participating in the festival, youth are able to acquire knowledge and skills related to the festival. They are also involved in dance groups, mask-making teams, and sawdust carpet teams. The government also emphasized the need for re-sowing Panamanian folklore through the teaching of the clean and dirty devil dance secrets in order to attract children and youth to the celebration. | Entertainment and Recreation • Ritual | Panama | (04) Quality Education | |||||||
| Darangen (edit) | The Darangen is an ancient epic song from Mindanao, the southernmost island of the Philippine archipelago. This region of Mindanao, also known as Lake Lanao, is the traditional homeland of the Maranao, one of the country's major Muslim groups. In the Marano language, Darangen means something that is narrated by song or chant. The Darangen have been around before the Islamization of the Philippines in the fourteenth century. They were first recognized by an American missionary and teacher, Frank Charles Laubach, who was visiting Lanao in 1930 after attending the Manila Carnival. Laubach first encountered them on his return trip to Lanao by boat. Upon hearing parts of the Darangen, Laubach was so impressed that he immediately contacted Maranao people who could recite certain parts of the epic and transcribed them by typewriter. The nobleman Panggaga Mohammad was Laubach's most reliable source and helped him transcribe the epics. Muhammad was said to know more Maranao songs than any other living man. Laubach published the Darangen in the journal Philippine Public Schools in November 1930. He made it the first time an oral epic had been published, as well as the first time the Maranao language was written in Latin. During wedding celebrations that typically last several nights, specialized male and female performers sing Darangen. They must have remarkable memory and impromptu skills. They must also use their poetic imaginations. They must be fully versed in customary law and genealogy. They must possess a flawless and elegant voice, and engage the audience with long hours of performance. Music and dance are sometimes performed in addition to chanting. The Darangen has no single author, but it is a collection of stories relating to events from Maranao history, as well as mythical heroes and their tribulations. The Darangen has 17 cycles and contains 72,000 lines, celebrating episodes in Maranao history and those of mythical heroes. In addition to compelling narrative content, the epic explores life and death, courtship, love, and politics and how they are represented through symbols, metaphor, irony, and satire. As well as encoding customary law, social and ethical norms, notions of aesthetic beauty, and social values unique to the Maranao, the Darangen also embodies principles of customary law. To this day, the elders refer to the Darangen when interpreting customary law. Several challenges face the conservation of the Darangen. Some contemporary Maranao Islamic religious leaders object to the non-Islamic themes in the Darangen. There have been recent revisions that have omitted references to tonong and diwata entirely. Older Darangen singers refuse to sing these revised versions as they are believed to be inauthentic. Since the Darangen includes archaic Maranao, the music is less accessible to modern Maranao speakers leading to decreasing interest among contemporary Maranao youths. Some versions are so old that only the chanters can understand what is sung. ==References== [https://ich.unesco.org/en/RL/darangen-epic-of-the-maranao-people-of-lake-lanao-00159] [https://en.wikipedia.org/wiki/Darangen] | Music • Verbal Arts and Literature | Philippines | (04) Quality Education • (16) Peace • Justice and Strong Institutions | |||||||
| Daredevils Of Sassoun (edit) | Daredevils of Sasun, also known as Sasna crer, is an Armenian epic poem composed of four cycles (parts), with David of Sassoun as its premier story, which is one of the four parts. It is in the tradition of heroic folktales that dramatize the story of a whole nation and voice its deepest sentiments and aspirations, to recount the legends of four generations of strongmen in a warrior community in the Armenian Highlands. Following the discovery of the epic in the late nineteenth century, there emerged an overwhelming consensus attributing its theme to Sassoun's four generations of warriors' struggle against Muslim rule in the 8th to 10th centuries. The Armenian epic, Daredevils of Sassoun, tells the heroic folktale of David of Sassoun, a young man who defied and became self-reliant, defending his homeland in an unequal duel against evil. The epic falls within the tradition of folk tales that dramatize and express the deepest sentiments and aspirations of a nation. Among the most important Armenian folklore texts, the Daredevils of Sassoun has often been cited. Although the language is filled with poetic pictures, the sensory details are often missing. This is because an oral tale is necessarily different than that of a written story because actors get on with their actions and act out most of the story to keep the audience interested. The plot is the primary thing, and the actors are suited to suit the words. The language is beautifully controlled and hyperbole is a characteristic device of this poetic style. The story in a lyrical voice with rhythmic enunciation is told in separate canto. The epic is performed annually on the first Saturday of October, in celebration of the Epic Day holiday, as well as at weddings, birthdays, christenings, and other major national cultural events. The epic tellers perform from a seated position, wearing the traditional costume and accompanied by the duduk, a woodwind instrument. They carry the family tradition as a vocation, and it is carried on most strongly in rural areas with ties to folklore culture. There are 160 variants to the epic. Nowadays, the epic is narrated in parts during performances, lasting up to two hours. It is most often considered one of the most important works of Armenian folklore, as well as an encyclopedia, containing all the knowledge about the culture and heritage of Armenian people, including their religion, mythology, philosophy, cosmology, customs, and ethics. ===References=== (https://en.wikipedia.org/wiki/Daredevils_of_Sassoun) (https://ich.unesco.org/en/RL/performance-of-the-armenian-epic-of-daredevils-of-sassoun-or-david-of-sassoun-00743) | Art • Entertainment and Recreation • Verbal Arts and Literature | Armenia | (11) Sustainable Cities and Communities | |||||||
| Date Palm (edit) | Date Palm is a flowering plant in the Arecaceae palm family that produces sweet dates as its fruit. Date palms are also known as date trees. Although the origin of the date palm is uncertain because of its long cultivation, some sources say it originated in the Fertile Crescent region straddling Egypt and Mesopotamia, while others argue that the date palm is native to the Persian Gulf region or even western India. It has been around for at least 50 million years, according to fossil records. Date palms have served as a source of numerous crafts, professions, social and cultural customs, practices, and traditions among the regional population for centuries, in addition to serving as a key form of nutrition. This evergreen plant is typically associated with dry climates, where its roots penetrate deep into the ground to find moisture. In addition to date palm farmers and farm owners, farmers who plant, nurture, and irrigate offshoots of date palms, traditional craftspeople who create products from the palm trees, date traders, creative individuals, and performers of associated folkloric tales and poems can be considered bearers and practitioners. Historically, the Date palm has been instrumental in strengthening the connection between Arabs and the land, helping them face the challenges of the harsh desert environment. As a result of the long-standing relationship between the region and the element, a rich cultural heritage of related practices and skills has been preserved to this day among the people of the region. Throughout the centuries, date palm cultivation has proved to be culturally important; as a result of this, local communities have been committed to sustaining it, participating in a variety of activities related to dates palms, traditions, and customs. There has long been a symbol of prosperity and fertility associated with the date palm in the Arab world. Date palms are either male or female, with the latter bearing the prized dates. The tree has been immortalised in art and literary works as well as in holy texts. In Islamic culture, the tree is among the first foods eaten after the sun sets during Ramadan. A fascinating future awaits the date palm tree. Scientists have begun studying it as a biofuel source, a carbon sink, as well as a drought-resistant crop. Several countries celebrate the date palm tradition by holding annual festivals. These include the Liwa Date Festival in the United Arab Emirates and the Dates Festival in Al-Qassim in Saudi Arabia. | Craftsmanship and Practices • Food | Bahrain • Egypt • Iraq • Jordan • Kuwait • Mauritania • Morocco • Oman • Palestine • Saudi Arabia • Sudan • Tunisia • United Arab Emirates • Yemen | (03) Good Health and Well-being • (11) Sustainable Cities and Communities | |||||||
| Devotion towards Saint John the Baptist (edit) | The celebration of Saint John the Baptist in Venezuela incorporates traditions and knowledge that originated in Afro-Venezuelan communities associated with former colonial estates in the eighteenth century. Although Catholicism has strongly influenced the festivities since the beginning, they are also filled with verbal, musical, and physical expressions culturally rooted in Africa, particularly sub-Saharan Africa. For followers of the tradition, known as Sanjuaneros, the festival symbolises cultural resistance and freedom. It is also a way of remembering their enslaved ancestors. It is common for celebrations to begin in early May. Drumming, dancing, storytelling, and singing accompany these celebrations in many communities, along with a procession carrying a statue of Saint John the Baptist. Every community has its style of dances and songs that attend these celebrations. While the dates vary from region to region, the celebrations are usually held on the 23rd and 24th of June. The Sanjuaneros will have the opportunity to visit friends on Saturday, 23rd June and visit local churches and homes (houses) of Saint John the Baptist. As a commemoration of the biblical event, the saint's image is baptised on the 24th of June in a local river. It is said that many devotees dive into the river and get blessed by the saint after taking a dip in it. In most places, the celebrations end on 16th of July, although the end of the cycle varies from place to site. Traditions and knowledge are passed down within families and through schools, community groups, and religious groups. Thousands of people flock to the south American nation every year to celebrate this festival that is dedicated to the world-famous forerunner of the Christian messiah. | Belief • Ritual | Venezuela | (03) Good Health and Well-being | |||||||
| Dikopelo (edit) | A competition of live choral songs and dancing is common in certain parts of Botswana for the festive season, particularly around Christmas Day, Boxing Day, and New Year's Day. Competition performances usually include feasting for the performers. One of these performances is called Dikopelo. Dubbed the authentic traditional music of the Bakgatla ba Kgafela tribe in Mochudi, Dikopelo is a form of choral singing and dancing that is performed without any instrumental accompaniment. Dikopelo music involves vocal singing and dance in a patterned choreography in which people from a particular area join together to form a choir. One choir challenges the other by issuing them a challenge, and the two compete in a contest displaying their unique styles and dance patterns. It is believed that they sing songs not only to celebrate the history and culture of their community, but also to impart information about contemporary issues including social and political trends, cultural practices and beliefs, violence, poverty, HIV and AIDS, and political corruption. The preparation of a Dikopelo begins with the assembling of a selection of songs to be performed over the festive season. During these daily practices, an individual is required to come up with an original composition or a rehash of a popular tune. The music in the original composition would then be harmonized by adding other parts, such as voices for the soprano, alto, tenor, and bass. In the practice sessions, during which members contribute to the song, a lot of time is spent on refining the song. These sessions are held in the evenings, and they begin around October and run until shortly before Christmas. During these rehearsals, the focus is on polishing the song to make it perfect for the impending performances. Attention is also paid to other aspects of the impending performances, such as making sure that appropriate attire has been chosen and that everyone has their outfit ready for the event. In Dikopelo, close family members and neighbors are involved in common practice, providing mutual support when necessary. Women, men, and children may all participate in the practice, but experienced older practitioners direct the practice and pass on their techniques through instruction and observation. Unfortunately, this element of Dikopelo is not as widespread as it used to be. While Dikopelo originated as a communal event performed on farmlands, due to the decline in the number of farmers, many choirs have relocated to villages, where modernization and the entertainment industry also make the practice of Dikopelo more difficult. This has also led to a reduction in the number of knowledgeable practitioners capable of explaining its significance. Despite Dikopelo's low viability, the community and practitioners are committed to preserving it. This is demonstrated by the willingness of those in the community to compete against groups from other districts, and by efforts to revive Dikopelo so it can serve the community to promote positive messages and protect young people from social ills. | Music | Botswana | (05) Gender Equality | |||||||
| Dolma Tradition (edit) | Dolma tradition is shared by families or groups, with different ingredients and methods used to prepare it by different communities. The tradition is present in all regions of Azerbaijan and is a central culinary practice that is enjoyed on special occasions, as well as during gatherings and expresses solidarity, respect, and hospitality. The Dolma dish consists of small fillings in the form of leaves or fruits and vegetables wrapped in either meat, onions, rice, peas, or spices. The name of the dish originates from the Turkish word ‘doldurma’, which means “stuffed.” Various types of dolma are served warm or at room temperature in Anatolian, Levantine, Caucasian, Mesopotamian, Iranian and Maghrebi cuisines. They can be prepared with whole vegetables, fruit, offal, seafood, grape, cabbage, or other leaves, wrapped around the filling. Wrapped dolma is also known as sarma. Zeytinyagli dolmas come in many varieties, from those served cold with a sauce of garlic yogurt to those with meat-based fillings, served warm with tahini or avgolemono. Zeytinyagli dolmas are typically filled with rice and served with a sauce of garlic yogurt. Dolma bearers primarily consist of women from various ethnic groups, along with wider communities who use dolma to serve their cultural and social needs. The tradition is mostly transmitted through parent-child relationships but is also passed down from schools that mainly teach vocational and apprenticeship skills. The element is widely known in Azerbaijani society, and its viability has been ensured by numerous activities that encourage awareness of the tradition. For example, festivals and vocational schools have taught the tradition, and publications have been published on the topic. The first International Festival of Dolma is held in Azerbaijan to show off the generosity of the Azerbaijani people and the hospitality of the land. The event took place in Baku in 2016. It was hosted jointly by the Ministry of Culture and Tourism, National Culinary Center, and Azerbaijani National Culinary Association, as well as the Absheron District Executive Authority. About 400 people from Azerbaijan's 24 regions attended the event, and representatives from Turkey, Ukraine, and Jordan. Through the festival, the guests at this festival have a chance to discover Azerbaijani dolma varieties previously unknown to them, such as dolma made from apples, potatoes, onions, cucumbers, etc. And also with the participation of artists and folk groups, the festival features a diverse and interesting concert program that can be a good effort to maintain the tradition even better. | Art • Food | Azerbaijan | ||||||||
| DombraKuy (edit) | A dombra, is a large-bodied lute, especially popular among Turkic communities in Central Asia, particularly Kazakhstan, Uzbekistan, Tajikistan, Turkmenistan, and Afghanistan. The art Kazakh of DombraKuy involves composing a short solo composition performance performed on a pear-shaped musical instrument with two strings and a long neck. The true meaning behind their performance was to demonstrate the sacred relationship they had with their Creator as well as to establish internal harmony within themselves. Kazakhs say that Kuy is Tanyrdyn sybyry ('Kuy is a whisper of Tengri'), and traditionally, Dombra was hung on the walls of each nomad's house (yurta). The music connects people to their historical roots and traditions by using classical and improvised pieces that engage the audience on a spiritual and emotional level. A public performance is an important way to communicate between people as well as contribute to the transfer of knowledge and skills related to Kazakh culture and traditions. Stories and legends are typically narrated with the music. The performers perform the music during social gatherings, holidays, and festive celebrations with a wide variety of food and musical entertainment. Music serves as a vital social and cultural experience, as well as a way to increase their skills and understanding in a community. Aspiring and talented musicians are apprenticed to masters from the moment they demonstrate an interest in the philosophy of traditional music and performance. Amateur musicians are then apprenticed to more experienced and talented musicians from their region to develop their skills and repertoire. Direct contact between a master and apprentice begins when a child displays interest in traditional music repertoire and philosophy, especially virtuosity. Whenever masters discover talent and enthusiasm in their students, they commit all their time, attention, and experience to teach them. The educational process goes "from simple to complex", and may end when a student masters all the techniques, skills, and knowledge a master has taught him. Finally, master Kuyshi hands over his signature dombra and bestows his blessing or "Bata". Nowadays, with the increasing urbanization of Kazakh society, Kuyshi is often raised in music educational institutions, like schools, colleges, and universities. To master the performance of dombra kuy, they learn and memorize its classic versions. The Kazakh traditional dombra kuy is preserved in the oral memory of every Kazakh community with respect to its variation and artistic improvisation by Kuyshi. | Music | Kazakhstan | (11) Sustainable Cities and Communities | |||||||
| Don Ca Tai Tu (edit) | The musical art of Don Ca Tai Tu is an indispensable part of the spiritual and cultural heritage of the southern Vietnamese. Performed at numerous events such as festivals, death anniversary rituals, and celebrations, it is an integral part of other cultural practices and customs. The folk art is intimately related to oral traditions and handcrafts during the late 19th century. It was popular with visitors both domestically and with Chinese, Khmer, and Western people. Historically, musical art was passed on orally, based on imitation, from master instrumentalists and singers to students. Students needed to study for 3 years to master the basic instrumental techniques and the different musical modes to express different moods and emotions. Vocal students are now taught traditional songs and learn different ornamentation techniques. The performers improvise, ornament, and change the basic rhythmic patterns to reflect their emotional state. Don Ca Tai Tu is performed on many different instruments, including moon-shaped lutes, two-stringed fiddles, sixteen-stringed zithers, pear-shaped lutes, percussion, monochords, and bamboo flutes. Music ensembles and clubs perform Don Ca Tai Tu, and the audience can join by practicing, making comments, or creating new songs. The practice is done within hereditary musical families and the audience. Practitioners of don ca tai tu include master instrumentalists (thay don), master lyricists (thay tuong), master singers (thay ca), instrumentalists (danh cam) and singers (danh ca). Don Ca Tai Tu is practiced in more than 2,500 clubs, groups and families in 21 provinces and cities in the south of Vietnam. The song helps people from the southern part of Vietnam express their feelings and emotions, and industriousness, generosity, and courage. Since Don Ca Tai Tu performances contribute to the preservation of other cultural practices and customs, such as those associated with festivals, oral culture, and handicrafts, they are considered part of the community. There's no denying that Don Ca Tai Tu contributes to sustainable tourism in the local area, but it's also a part of the culture of the community. | Art • Craftsmanship and Practices • Entertainment and Recreation • Music | Vietnam | ||||||||
| Dondang Sayang (edit) | Dondang Sayang is a Malay traditional song and music form that is well known in the State of Malacca, where it is still practised by four communities: Malays, Baba Nyonyas, Chitty, and Portuguese. The term "Dondang Sayang" is a combination of words that means "Love Song" or "Song of Affection". This type of art is commonly seen as a love ballad that conveys affectionate feelings of love and advises on moral issues such as compassion and tolerance. The establishment date of Dondang Sayang cannot be determined, but it has been compared to the establishment of the Melaka Sultanate in the 15th century. During that era, Dondang Sayang was a popular form of entertainment for both members of the Royal Court and their invited guests. Later, the performance became widespread among the various communities, performed by common folk at major celebrations and traditional celebrations. It was during the second half of the 19th century, following Melaka's British occupation, that the Dondang Sayang movement began spreading to other parts of the Straits Settlements, such as Singapore and Penang, then spread into the Malay Peninsula. There are many musical elements in the practice of Dondang Sayang, including violins, gongs, and tambourines (or the tambour), along with beautiful melodious strains of poetry. The number of musicians is between four and five. A violinist usually serves as the chief musician, providing a countermelody to the vocal melody. The music is slow, and a song usually comprises 32 bars, beginning with a violin intro, followed by the rebana and the gong, with the voice taking over for the last bar. Its style is somewhat informal, and lyrics are often written in the form of love poems. According to tradition, the performances consist of two singers of opposite sexes vocalizing in quatrains, accompanied by music. The lyrics consist of quatrain verses, which are sung by the singer to their personal style, based on their respective capabilities and expertise. Despite the fact that Dondang Sayang performances are open to everyone, regardless of age, occupation, position, or religion, the singer must have extensive and professional experience in poetry recitation. They must be quick-witted and possess a good command of the Malay language in addition to having an understanding of the local customs and culture. Dondang Sayang is largely considered as a means of sending positive messages and sharing feelings of sadness, joy, and love which contribute to the strengthening of bonds within a community, and Pantun is an oral poetic form used to express those intricate ideas. Regular performances are held, especially during gatherings, festivals, and parties, and a variety of cultural programs, and training activities are offered for those wishing to participate and improve their singing and performing abilities. Today, Dondang Sayang is one of the main performances at government functions to ensure the continuity of this art heritage which has become a characteristic of Malacca's cultural heritage. | Music | Malaysia | ||||||||
| Drametse Ngacham (edit) | Bhutanese Mask dances are performed during the Drametse festival in honor of Padmasambhava, the Buddhist guru. Each year, two festivals are held in this eastern Bhutanese village by the Ogyen Tegchok Namdroel Choeling Monastery. It was first performed in this monastery during the nineteenth century, and Drametse Ngacham was introduced to other parts of Bhutan around the same time. It is believed to be performed by heroes and heroines of the celestial world in Tibetan mythology. The Drametse Ngacham (meaning "mask dance of the drums from Drametse") is a sacred dance of Bhutan performed twice a year during the Drametse festival. The festival is organized by the Ogyen Tegchok Namdroel Choeling Monastery to honor Padmasambhava, a Buddhist master of the eighth century. A great cham or the Drametse Ngacham, is one of the finest and most rigorous creations of Bhutan. It has both social and artistic elements of life as well as embodies spiritual ideals of enlightenment. The animal and bird faces are meant to disrupt our prejudices towards seeing enlightened beings only in human or celestial forms. Enlightened energy can be latent in a person, and it can be manifest during spiritual and existential visions, for example, a vision during the bardo state. Ideally, the dancers will be experienced in deity meditation and genuine practitioners of Vajrayana Buddhism. In order to do the practice and to be familiar with the process of deity visualization, they will need to have received the required authorization and initiation. The Drametse Ngacham isn't just an artistic performance; when done properly, it is a rigorous spiritual practice combining movements, music, and mental visualization. Traditionally, the dance was performed by lay priests with the necessary religious competency. In the minds of spectators, the Drametse Ngacham is seen as an artistic work that can bring about liberation by awakening the divinity within sentient beings as they encounter divine forms in dancing. As a source of spiritual empowerment for the audience, the dance serves as a blessing for people from Drametse as well as neighboring villages and districts. It is now an art form, encapsulating the identity of the Bhutanese nation as a whole. Although the dance is highly respected across all generations, it is experiencing a decline in practitioners due to inadequate rehearsal time, a lack of a systematic training program, and a gradual decline in interest among young people. A project was coordinated and implemented by the Institute of Language and Culture Studies (ILCS) at the Royal University of Bhutan. The project involved strengthening the training capacity of a monastic school, compiling existing documentation, recording videos of the dance, researching its history, and conducting promotional activities. | Art • Belief • Craftsmanship and Practices • Dance • Music • Ritual | Bhutan | ||||||||
| Drotárstvo (edit) | The term dotárstvo, wire craft, and art is used to refer to the technique of manufacturing using wire. Some of these methods were invented by itinerant tinkers, traveling to homes to repair kitchenware and make and sell a variety of items from wire and sheet metal. They developed a simple method involving manual bending, binding, and interlacing metal fibers, without welding or soldering; a method still used today. As the craft developed from the early 19th century, it reflected the difficulties of life in the poorest back-country areas in the upper part of Trenčín County (Upper Váh and Kysuce), and later also in the northern part of Spiš County. By the end of the 19th century, wire craft was practiced in over 150 communities in northwestern Slovakia. Several wire craftsmen operated only within Slovakia, but others ventured far beyond the borders of the Austro-Hungarian Empire to bring a trade that had originated locally to nearly every continent. Since the 20th century, wire craftsmen have used metal wire to produce tools for daily use and art objects. As before, they respond flexibly to the local market and enrich their heritage with the latest products. The current collection of materials also includes new types of metal wire, used in unusual combinations with other previously unknown materials. There has also been a new interest in the technical and formal development of metal crafting’s heritage. Consequently, wirework has made a significant advancement on the decorative and creative levels, increasing its artistic quality to an unprecedented level. In the current practice, the bearers and practitioners mainly work at an artistic level, selling their products at various fairs, festivals, etc. Some of the bearers and practitioners come from families that have a multi-generational tradition of passing down skills of these related skill sets, as well as voluntary craft associations and clubs. Because of this, traditional wire crafts are incorporated into beautiful art products, proving their viability and demonstrating their respect for the old craftsmen. In cultural-historical terms, wire craft is now viewed as a unique and specialized technique of craft and art within the national culture that is also recognized on the international level. It can be found in a wide variety of installations, including sculptures, jewelry, and craft design, as well as combinations with a huge diversity of materials. A large part of the wire craft community's inspiration comes from the wire craft community. They represent an area in which there was a considerable amount of exchange of goods, as well as an influential channel for interethnic contacts and international trade. As a result, they should be recognized as part of Slovakia's intangible cultural heritage. | Art • Craftsmanship and Practices | Slovakia | (01) No Poverty • (04) Quality Education • (05) Gender Equality • (08) Decent Work and Economic Growth • (12) Responsible Consumption and Production | |||||||
| Drum Dancing and Singing of The Inuit (edit) | Drum dance and drum singing are indigenous forms of Inuit artistic expression and music in Greenland that have existed for at least the last 4500 years. This music and dance have traditionally been used to contact special spirits for protection when hunting and fishing. As Christianity and modern life influenced the people to abandon their shamanistic practices, drum dancing became less of a spiritual event and more of a social event for the community. The drum dances used to be held once a year, but now they can occur at any time, and they can be performed by both men and women. In parts of Maine, the dance is referred to as Quaggi (after the large Igloo where the dances are held), while in parts of Quebec, it is referred to as Pisiq (after the specific type of song accompanying the dance). Drumming and dancing are often performed during national holidays, festival celebrations, and social events. The dance is performed to the rhythmic beating of the caribou skin drums. The drummer, or qilaat, is lifted and lowered in different directions with a stick made of bone or wood striking against the frame. This produces a sharp, echoing percussive beat. For the right tautness, the caribou's stomach skin is used to make a drum. The belly skin is taken in the summer and is stretched across wooden frames. The finished drum is approximately 24 inches in diameter. Songs typically start with drummers tapping their drums and dancers swaying to the rhythm. The drums are struck harder as the song continues, and the people sing louder. Dancers incorporate their bodies into the song with their knees bent, their arms outstretched, and their hands open, catching the rhythm of the drumbeats. For Greenlandic Inuit, drum dancing and singing embody a shared identity and a sense of community, as well as a continuation between the past and the present. Frequently, drum songs revolve around the activities and experiences of daily life in Greenland and include topics such as love, longing, laughter, and hunting. These practices belong to all, regardless of their ages, genders, or political views. The tradition has endured more strongly in the North and on the East coast, so much of the knowledge we have today has come from these areas. In spite of the fact that few performers remain, a sustained effort to revive this tradition has been made because, for example, workshops have been held, and funding has been provided to performers to teach their abilities to make drums and to perform the songs in schools. | ||||||||||
| Duduk (edit) | The Duduk is an Armenian wooden wind instrument made from the wood of the apricot tree. Other varieties of the instrument include Balaban or Balaman, Duduki, and Mey, which are also found in Iran, Azerbaijan, Georgia, and Turkey. In addition to being called by different names, the sound of the Duduk differs greatly depending on the country where it was played. The main differences lie in the technical nuances of playing, particularly lip control. Armenian musicians use a highly developed technique to simulate the human voice on the Duduk. Thus, the Duduk accurately expresses Armenian feelings. It has been documented that the roots of the Duduk originate from the time of King Tigran the Great (95-55 BCE). Archaeologists have even located examples from 1000 B.C. The ancestor of the Duduk is the ancient flute (Aulos), which is made from reed. It is depicted in various old Armenian manuscripts. There is also evidence of miniatures of other flute families in Armenian medieval times. They are originally made out of bone, cane, or wood and have been used to play tunes and communicate with the flock. The form in which the Duduk is known today was improved by Vardan Bouni. Throughout history, the Duduk is often played at Armenian events, such as weddings and funerals to accompany popular Armenian traditional songs and dances. Even though there are famous Duduk soloists, such as Gevorg Dabaghyan and Vache Sharafyan, the Duduk is generally performed by two musicians. The first player creates the environment for the lead melody, playing a continuous drone and holding it by circular breathing while the other performs complex melodies and improvisations. The types of the Duduk range in length from 28 to 40 cm. Depending on the content of the piece and the playing context, the sound of the Duduk may convey a variety of moods. For example, the 40-cm-long Duduk is considered the most appropriate for love songs, while the smaller one is usually used to accompany dances. Throughout the last few decades, Duduk craftsmen have continued to create and experiment with various forms of Duduk. Many Armenians consider the Duduk to be the instrument that most eloquently conveys warmth, joy, and their history. However, the popularity of the Armenian duduk has declined, particularly in rural areas. It is increasingly rare to find the Duduk instrument used in popular festivities. The instrument is more often used in stage performances by professionals, setting the music's viability and traditional characteristics at risk. ==References== [https://ich.unesco.org/en/RL/duduk-and-its-music-00092] [https://en.wikipedia.org/wiki/Duduk] [http://agbu.org.au/history-of-the-duduk/] [https://www.ethnicmusical.com/duduk/duduk-and-beyond-an-instrument-with-a-soul-of-a-human/] | Craftsmanship and Practices • Music | Armenia | (08) Decent Work and Economic Growth • (12) Responsible Consumption and Production • (16) Peace • Justice and Strong Institutions | |||||||
| Dugout Boat (edit) | In the Soomaa region, the Estonian expanded dugout boat is a canoe-like boat that is hollowed out from a single tree. The boats are built out of an aspen tree and have expanded sides and a shallow base. The process of building a dugout boat is complex, starting with finding a suitable tree and culminating with the actual launch of the boat. Estonia's Soomaa National Park encompasses an area twice the size of Tallinn, a wetland area in Pärnu and Viljandi counties. During the fifth season, melted snow from the mountains or heavy rains in the region flood the lower forest flats, roads, and yards of Estonia. Traditionally, boats were the only means of getting around in the area during this period. Dugout boats have been extremely important in the community as an integral part of everyday life. Until the 1960s, dugouts were used for transport across rivers and fishing. Dugout boatbuilding is a social activity that involves masters, apprentices, and other members of the community. There is a complex process in building dugout boats that begins with the identification of a suitable tree and concludes with its launch. One of the most distinctive features of dugout boatbuilding is the expansion of the sides. As a result of the interaction between heat and moisture, including a fire and water, the sides of the board are dramatically expanded, which increases the volume, maneuverability, and carrying capacity of the boat. Besides apprenticeships and formal studies, the practice is accompanied by tales about legendary masters and their boats. Though dugout boats continue to have cultural significance and are still used for recreational purposes (nature trips and fishing in water), the element is also threatened due to factors such as a lack of knowledge transfer between masters and apprentices. Due to the advent of cheap and modern boats and extensive roads, dugout boats are no longer used for daily transport or fishing. There is also low demand for boatbuilding and use, limited raw materials availability, and declining populations in the Soomaa region. Consequently, only five master practitioners remain, and only one or two boats have been built in the past two decades. Today, the role of the dugout boat has changed and it is less indispensable. However, its cultural significance and recreational uses have survived - dugout boats occupy an essential place in Soomaa identity. | ||||||||||
| Dumbara Rata Kalala (edit) | Sri Lankan Dumbara Rata Kalala, also known as Dumbara mats, are traditional hand-made mats used as wall hangings decorations, tapestries, or cushions covers. Originally made by Kinnara communities, the mats are now produced in two villages, Kalasirigama and Alokagama. They traditionally served as ornamental mats to the royal palace as part of its obligation to the crown and the ruling elites between the 15th and 19th centuries. Dumbaras artisans are the descendants of those who used to provide ornamented mats and other fiber-made items to the royal palace of ancient Sinhalese kings. Their work is a family-based livelihood. Artisans use the fiber of the leaves of the Agave plant (Agave vera). The leaves are separated using a sharp-edged wood piece to scrape away the fleshy parts. The leaves are then washed and dried, combed, and dyed using traditional herbal dyes from the Dumbara valley, then made into mats by weaving them on a simple loom situated on the floor or the ground. The knowledge and skills involved in the production of these mats, which are ornamented with designs and motifs derived from Buddhist and Hindu mythologies and that demonstrate exceptional workmanship, are a significant part of the intangible cultural heritage of Sri Lanka. If there are any motifs or designs, the weaver inserts the fiber through the hole and pulls the lath through the yarns on the loom to create the desired design. The element's inscription will improve its visibility, empower the family who practices it and ensure its viability. Potential dangers like commercialization and overexploitation have been made aware, and precautions have already been taken to protect the element with safeguarding plans. This inscription on the Dumbara mat weaving technique brings a lot of attention to Sri Lanka and its living cultural heritage. It also helps draw the public's attention to this extraordinary craft, which faces the threat of disappearing in the next few decades due to a number of socio-economic reasons. It is also anticipated that the increase in visibility by UNESCO will contribute to improving the livelihoods of the craftspeople and, therefore, their quality of life. To this day, in Kalasirigama and Alokagama, Kinarra craftsmen still weave Dumbara Rata Kalala mats for locals and tourists. They are used as wall hangings decorations, tapestries, or cushions covers. Dumbara mats have much cultural significance for Sri Lankans. The practice is passed down from parents to children. | ||||||||||
| Durga Puja (edit) | The festival of Durga Puja is celebrated yearly in September or October. It is commonly celebrated in Kolkata, West Bengal of India, but it is also celebrated across India and internationally amongst the Bengali diaspora. As part of the Hindu religion, this festival commemorates the ten-day worship of Durga. While the festival's origins are unclear, no documentation is available, although surviving manuscripts from the fourteenth century provide guidelines for the Durga Puja festival. During the British Raj, the prominence of Durga Puja increased in the provinces of Bengal, Odisha, and Assam. Since at least the 16th century, large Durga Puja celebrations have been sponsored by royal families and wealthy families. The ten-day festival of Durga Puja includes several rituals and practices during its last five days. In the months before the festival, small artisanal workshops construct images of the goddess and her family using unfired clay and water from the Ganga River. The festival starts with Mahalaxmi, on which Hindus perform tarpana or offerings of water and food to their dead ancestors. It also marks the advent of Durga from her mythological marital home. On the first day of the festival, the goddess is worshipped by painting eyes onto clay images to bring the goddess to life. Another important day of the festival occurs on the sixth day when devotees welcome the goddess and festive celebrations commence. On the seventh day of the 7-day festival, the goddess along with Lakshmi, Saraswati, Ganesha, and Kartikeya are revered, and these days mark the main days of worship with the recitation of scripture, puja, legends of Durga in the Devi Mahatmya, social visits to elaborately decorated and illuminated pandals (temporary structures created to host the puja). At the end of the tenth day, the images are immersed in the river where the clay was originally collected. Therefore, this festival has also come to mean ‘homecoming’ or a seasonal return to one’s roots. It is also characterized by the presence of large-scale installations in urban areas, as well as traditional Bengali drumming and the veneration of the gods. Over the years, Durga Puja has become one of the most significant festivals in India. In addition to being a religious festival for Hindus, it is also a time for family reunions and rejuvenation, as well as a celebration of traditional culture and customs. It is a thriving ground for collaboration among artists and designers. During these events, the barriers between classes, religions, and ethnicities begin to crumble as large crowds of people walk around admiring the exhibits. | ||||||||||
| Dutar (edit) | The dutar is an instrument and genre of music from Turkmenistan. It is an integral part of the Turkmen nation's centuries-old music. The name of this instrument comes from the Persian word for "two strings". It was found among the statuette "Itinerant musicians Bakhshi" in the excavations in Merv (Mary) in the 15th century. One of the images of the manuscript contains an image of a girl playing the dutar. Turkmen folk music primarily uses the dutar to adapt and accompany folk tunes. This genre consists mainly of ephemeral songs which relate to the pastoral and agricultural pursuits of the Turkmen people. A dutar is a long-necked, two-stringed lute with a pear-shaped body and a thin, wooden sounding board. It is made from a piece of mulberry wood with a dried apricot trunk for the neck. The body of the dutar is rounded, hollowed out, and polished. The wood for the body cover is baked for 24 hours to remove humidity, and then it is glued over the hollow using bone glue. Afterwards, the instrument's neck, frets, and strings are attached, and it's tuned. When the Dutar was created as a shepherd's instrument in the 15th century, its strings were made from the gut. However, that began to change with the opening up of the Silk Road, and the string used was twisted silk imported from China. Silk strings are still used today, although nylon strings are widely used. It takes precise calculations to make the parts of a Durar fit together with standard width or else it will not produce a high-quality sound. Nowadays, dutar makers, or usta, use high-precision measuring instruments. However, some with many years of professional training still rely on an ordinary ruler, just like their ancestors. They also rely on their expertise with wood and their keen eye for detail. The dutar is an inseparable part of Turkmen culture, and it is used in all of the main genres of Turkmen music and singing. Generally, there are two types of music: dutarchy, which consists of music with a song accompanying it, and bagshy, which consists of music played alone. There are also several sub-types. In Turkmenistan, dutar music is a part of national celebrations, ceremonies, religious festivals, social gatherings, and entertainment programs. In Turkmenistan, dutar playing has never lost its appeal and has even flourished in popularity. The development of folk arts is receiving increasing attention in the country. | ||||||||||
| Earthenware (edit) | It is a clay pottery-making skill practiced within the Bakgatla ba Kgafela community in Botswana's southeast. Clay pots play an integral role in Botswana’s history and were used in everyday life. Earthenware comprises "most building bricks, nearly all European pottery up to the seventeenth century, It is usually fired below 1,200 degrees Celsius (2,190 degrees Fahrenheit) and is glazed or unglazed. The basic earthenware is terracotta. It absorbs liquids like water easily. Traditionally, in Botswana, pottery-making was up to the women to collect clay soil, weathered sandstone, iron oxide, cow dung, water, wood, and grass to create pots into various shapes and sizes of styles and forms according to the traditions and beliefs of their region. After collecting the soil, the master potter will meditate until she is guided to the ideal spot. After gathering the weathered sandstone and clay soil, the materials are pounded in a mortar and pestle, sieved, and the powders resulting from sieving and mixing are mixed with water to make the clay body. In slab-built pots, shapes are fashioned by hand starting at the base and culminating at the rim of the pot, and they are smoothed with a wooden paddle before firing in a pit kiln. The most sought-after clays are kaolin-based, which produce red and brown colors. Once the form of the pot has been set, the women decorate the pots with patterns and pictures using natural oxides. They make pots to store beer, ferment sorghum meals, fetch water, cook, perform traditional healing rituals, and worship ancestral spirits. The earthenware techniques are passed down through observation and practice from mothers to daughters and granddaughters. In the meantime, the number of master potters is declining, prices for finished goods are declining, and mass-produced containers are becoming more common. As a result, the pottery is in danger of losing its practice. People are rarely used traditional pots as receptacles in Botswana, and only a small number of women in rural areas still produce traditional pottery, they’re mainly for sale. While the tradition is in decline, however, it is showing signs of recovery as the tourism market grows. As of today, pots are mostly found easily in the south and east of the country, where the best clay soils are to be found. Modern ceramics are produced now in some small cottage industries. Visitors and customers may come to commercial pottery centers in Thamaga, Molepolole, Kanye, and Gaborone. They can purchase incredible clay pots or even learn how to make pottery in these areas. ===References=== (https://ich.unesco.org/en/USL/earthenware-pottery-making-skills-in-botswanas-kgatleng-district-00753) (https://en.wikipedia.org/wiki/Pottery#Africa) (https://en.wikipedia.org/wiki/Earthenware) (https://www.botswana.co.za/Cultural_Issues-travel/botswana-country-guide-art-for-all.html) (https://www.botswanatourism.co.bw/arts-crafts) (http://www.news.cn/english/africa/2021-12/06/c_1310355188.htm) | Art • Craftsmanship and Practices | Botswana | (08) Decent Work and Economic Growth • (09) Industry • Innovation and Infrastructure • (11) Sustainable Cities and Communities • (12) Responsible Consumption and Production | |||||||
| El Güegüense (edit) | El Güegüense is a satire drama performed during the feast of San Sebastián, one of the patron saints of the city of Diriamba in the Carazo province in Nicaragua. El Güegüense, a synthesis of Spanish and indigenous cultures, combines theatre, dance, and music. It is one of the most distinct colonial-era expressions in Latin America. The earliest known copies of the story were probably written in the early eighteenth century. It revolves around encounters between Spanish colonial officials and native Americans, particularly El Güegüense, the central character. El Güegüense is an influential figure in pre-Hispanic Nicaragua who overcame accusations levied against him by officials in the form of clever verbal maneuvers. Instead of directly challenging or confronting authority, he attempts to appear consistent and compliant while employing subterfuge to undermine Spanish authority. The play contains 14 characters in total: three mestizos, Güegüense, and his brothers - Don Forsico and Don Ambrosio. Additionally, there are four Spanish authorities, Tastuanes Governor, Alguacil Mayor Lieutenant, the Royal Clerk, and the Royal Assistant, three women: Suche Malinche and her two companions, and four beasts of burden - Macho, Macho-moto, Macho-Viejo, and Macho-Mohino. A lot of attention is paid to the costumes of the different characters in the play. The Spanish are dressed elegantly in colonial clothes with high stockings and spangles, and their masks show their white or light brown skin. Their mustaches are vague. The Mestizos wear straw hats and dress in simple clothes. They walk in sandals or barefoot and carry a rattle with a metal point. Usually, the beasts ("machos") walk barefoot, sporting vests embellished with spangles and masks of horses, as well as horsehair rope, and carry a metal rattle with them. Ladies wear long dresses, necklaces, and earrings. A violin, guitar, and drum provide musical accompaniment. The tradition is particularly known to Nicaragua's Spanish-speaking population due to the country's ongoing television coverage of the annual Saint's Day procession. It is so well known that Nicaraguans coined the expression "to put on Güegüense's face" to refer to anyone who outwardly appears to conform to the rules while subtly undermining them. The central plot of El Güegüense is a deception for monetary gain. As a result, El Güegüense has often been considered symbolic of local government officials. Although popular, the production is in danger of declining in popularity and possibly disappearing, due to the country’s difficult economic condition. Its decline is also attributed to insufficient support for its performers, as well as a decreasing interest among young audiences. ==References== [https://ich.unesco.org/en/RL/el-gegense-00111] [https://en.wikipedia.org/wiki/El_G%C3%BCeg%C3%BCense] [https://vianica.com/go/specials/21-el-gueguense-macho-raton.html] [https://www.nicaragua.com/blog/the-theatrical-masterpiece-of-el-gueguense/] | Dance • Entertainment and Recreation • Music • Verbal Arts and Literature | Nicaragua | (04) Quality Education • (10) Reduced Inequalities • (11) Sustainable Cities and Communities • (16) Peace • Justice and Strong Institutions | |||||||
| Empaako (edit) | Empako is a naming system used by the Batooro, Banyoro, Batuku, Batagwenda, and Banyabindi which consists of twelve names shared among the communities in addition to the given name and family name. Since the ancient Africans had knowledge about their way of life and had a deep understanding of human character for the purpose of showing respect for one another, they composed identifier names called Empaako. They were given to every individual, regardless of age, gender or ethnicity. The name is used to greet others as a way of expressing affection, respect, honor, or love. It can be used as a greeting and a means of expressing affection, respect, honor, or love. In addition, it can defuse tension or anger and bring the tribe together in a peaceful way. Empaako is given at a naming ceremony where the clan head performs it. It is received by the paternal aunts who examine its features. The names are chosen based on the person's resemblance to existing relatives. Once the name has been chosen, the clan head declares it to the child. A celebration meal of millet and smoked beef is followed, gifts are presented and a tree is planted. There has been a general decline in appreciation of traditional culture and language related to Empaako, which has led to a dramatic drop in transmission through naming rituals. As a result of declines in appreciation of traditional culture and the diminishing use of the language associated with the element, Empaako has dropped dramatically in transmission, thanks to a general decline in appreciation of the element and use of the language associated with it. The clan head declares the name to the child and presents millet and smoked beef to the baby. Gifts are presented to the baby and a tree will be planted in its honor. The name Empako, however, has lots of magical power vested in this practice of allocating names for an individual. During rituals performed, including those associated with dining, the gods ascend to the parents or authority figures. As an individual's name has a lot to do with their practical behavior, and in this way, has a lot to do with their name. Nowadays, only the Babiito (Clan of the Kings) who are still preparing a traditional meal for this purpose, known as "Omukaro gwa Katuzi noburo," meaning mushrooms and meat mixed with millet flour, a dish prepared by clan heads when giving empaako names of Luo-Bito origin. However, it cannot alter the magic of this custom once it is gifted to someone else. ===References=== (https://ich.unesco.org/en/USL/empaako-tradition-of-the-batooro-banyoro-batuku-batagwenda-and-banyabindi-of-western-uganda-00904) (https://www.makeheritagefun.com/empaako-tradition-uganda/) | Belief • Ritual | Uganda | (11) Sustainable Cities and Communities • (15) Life on Land | |||||||
| Epic Of Gorogly (edit) | Gorogly is an epic tale prominent in Turkic oral traditions, primarily among the Oghuz Turks. The epic describes the life and bravery of Koroghlu, a hero of the people who struggled against unjust rulers. It blends romance with Robin Hood-like chivalry. As large groups of Oghuz Turks moved into Central Asia, South Caucasus, and Asia Minor throughout the Middle Ages, they assimilated with other ethnic groups, the Epic of Koroghlu spread widely in these regions, resulting in Turkmen, Kazakh, Uzbek, Tajik, Azerbaijani, Turkish, Crimean Tatar, Georgian and Kurdish versions of the epic. Koroghlu is a legend describing a hero who seeks to avenge a wrong. It is often put to music and played during sporting events as an inspiration to competing athletes. This oral performing tradition in which the legend of Gorogly describes the glories of his forty cavalrymen. Narration, singing, writing, composition, prose, and poetry are all used to tell the epic, which functions as an oral encyclopedia of traditional knowledge (for example, stock breeding, traditional healing, etc.). As the tradition's transmission moves through a community, it helps children understand their own cultural identities and gives the bearer community a strong sense of social and cultural identity. The tradition helps nurture character, creative capacity, and artistic skills. The epics of the Turkmen people reflect their aspirations for a happy life, freedom, and justice and promote values such as bravery, honesty, and friendship. These epics are performed by individual male and female performers in Turkmenistan who are specialists in the Gorogly epics. They are usually held in seated positions to the accompaniment of stringed musical instruments, including the dutar or gyjak. Gorogly epic practitioners and bearers are actively involved with all national celebrations, cultural festivals, and social gatherings. They take part in annual competitions between Gorogly epic performers. Ashik bards of Azerbaijan and Turkey have told the story for generations, and it has mostly been written down in the 18th century by the Bagshy narratives of Turkmenistan. The practice of the epic art is considered a vocation, with masters passing on knowledge and skills through informal teaching of pupils, as well as public performances. | Art • Music • Verbal Arts and Literature | Turkmenistan | (11) Sustainable Cities and Communities | |||||||
| Epiphany (Timket) Festival (edit) | The Ethiopian Epiphany of Timket (Ge'ez: ጥምቀት T'imk'et) is a colourful festival celebrated all over Ethiopia to remember Jesus Christ's baptism by John the Baptist in the River Jordan. The commemoration begins the day before the main festival, on January 18. The day before the main festival is known as Ketera, which means blocking the flow of water for the blessing of the celebrants. The cathedral of Lalibela is Ethiopia's ‘cathedral’ for ordination, as well as the country's most popular tourism and Timkat site. This 13th-century spiritual center contains 11 churches carved into the rock by King Lalibela who had a vision of the Holy City of Jerusalem. During the ceremonies of Timket, people celebrate the baptism of Jesus Christ by John the Baptist in the River Jordan. The festival starts on the eve of the main festival, held on 18 January. On the eve of Ketera, people escort their parish church tabot (replicas of the Ark of the Covenant) from the parish church to Timkete-Bahir. The priest leads the procession, which is accompanied by a big ceremony. People spend the night there attending night-long prayers and hymn services, which include the Eucharistic Liturgy. The actual festival takes place on the 19th of January. The celebration begins early morning with rituals before the sun rises. Following this, the blessed water is sprinkled on the congregation, as well as various other rituals. Around 10 a.m. the procession back to the church begins, which involves an even more colorful ceremony with a variety of traditional and religious songs. In Gondar, the bathing palace is still devoted to this colorful ceremony. Besides the baptism of Jesus Christ, the festival of Timket also commemorates thousands of people who have converted from Catholicism to Orthodoxy by being re-baptized. The Timket festival, also known as the Harvest Festival, is also a time for joy and celebration, and people dress in the best clothes. An Amharic saying says that a dress not used during Timket deserves to be torn to tatters. In the wedding season, Timket is known for its fasting, feasting, and jubilant processions. It is also known as a time for romance and betrothal. In the countryside, a young man throws a lemon at the girl he chooses to be his fiancée and she accepts him. Until today this element continues to function by relying on its continued practice, and Orthodox clerics play a key role: they sing praises that honor the rituals and hymns, carry the Ark, and preach relevant texts. | ||||||||||
| Eshuva (edit) | The eshuva is a prayed song that depicts the religious myths of the Huachipaire religion. It is performed in a variety of contexts for healing as well as parts of many ceremonies, like the drinking of masato, a traditional beverage made of fermented manioc, and the initiation of new Eshuva singers. The Huachipaire are an indigenous ethnic group living in Peru's southern Amazon rainforest, speaking a language that is related to Harákmbut. The communities believed that every being is surrounded by energy and that energy is balanced; when this balance is disturbed, it is necessary to regain it, and it is up to human beings to intervene with eshuva. The eshuva is a song, not an instrumental, that is performed exclusively in the Harakmbut language. According to oral tradition, the Eshuva songs were transmitted directly from animals to humans, for the purpose of alleviating illness or discomfort or promoting well-being. Eshuva can be used both positively and negatively. In the case of positive use, it is frequently used to find out the cause of diseases or ill health. Whenever it is used negatively, it is used to cause death, though in this case the prayer is done secretly. The eshuva is also used for other ceremonies, such as funerals and entombments. An eshuva practitioner invokes the spirit to enter their bodies and give them certain characteristics, which give them the feeling of being invulnerable. The group's members are therefore responsible for safeguarding the language and protecting its values and worldview. Each song is transmitted orally, with apprentices being taught a specific function according to a disease it is meant to cure. Eshuva songs are at risk of disappearing, however, because the transmission has been interrupted due to a lack of interest among Huachipaire youth, recent internal migrations, and the influence of external cultural elements. It is known that there are many more sung eshuva prayers that are trying to be documented in order to safeguard them, but the National Institute of Culture of Peru only recorded 10 in 2010. The Peruvian Ministry of Culture established manucas (memories house) in the two Huachipaire villages that still practice eshuva after it was declared part of UNESCO's list of intangible heritage that requires urgent safeguarding measures. These manucas will serve as homes for the practice of eshuva and the other traditions cultivated by these native communities. Today, twelve eshuva performers had been identified, all of whom were Huachipaire subgroup members. ===References=== (https://ich.unesco.org/en/USL/eshuva-harkmbut-sung-prayers-of-perus-huachipaire-people-00531) (https://es.wikipedia.org/wiki/Eshuva) | Belief • Ritual | Peru | (11) Sustainable Cities and Communities | |||||||
| Estremoz Clay Figures (edit) | In Estremoz, clay figures have been produced since the seventeenth century, and they have distinctive aesthetic features. The clay figures are dressed in traditional Alentejo attire, or in clothing from Christian icons according to specific themes. The craft is strongly tied to the Alentejo region and most of the figures depict natural elements, local trades, popular traditions, and devotions. The first 'boniqueiras' artisans were women who made saints in their own homes for devotional purposes. They used to be carved in wood, but they cost a lot, so one day someone decided to make a saint from clay, which was available and much cheaper. Throughout its history, Estremoz became famous for the quarries and markets of its high-quality white marble, as well as for the red clay that came to make the traditional figures found in local craft shops. The process of creating Estremoz Clay Figures involves several days of effort. The elements of the figures are assembled, and then they are fired in an electric oven. The artisan then paints them and covers them with a colorless varnish. The clay figures are usually dressed in the regional attire of Alentejo or the clothes of Christian religious iconography or in regional outfits reflecting spirit, humor, and work from the Alentejo region. Through non-formal education workshops and pedagogical initiatives by artisans and the Centre for the Appreciation and Safeguarding of the Estremoz Clay Figure, artisans ensure the viability and recognition of their craft. Fairs are organized locally, nationally, and internationally, and knowledge and skills are transmitted to the next generation in family workshops and professional contexts, as well as through non-formal training initiatives. Schools, museums, fairs, and other events are used to promote awareness of the art form. The art of creating clay figures is still active today. This skill is passed on from generation to generation in family workshops where tourists get to experience the whole process of handcrafting clay figures. There are over 100 different Bonecos de Estremoz registered now with a wide range of styles, including modern and traditional. They all have one thing in common, they represent the Alentejo people and their rural lifestyles. | Art • Craftsmanship and Practices | Portugal | ||||||||
| Fado (edit) | Fado is a genre of music and poetry that is widely practiced throughout Lisbon. Although the origins of fado are difficult to trace, it is generally considered to be a form of music with mournful melodies and lyrics, often about the sea or a life of poverty. The tradition says fado is a form of music that is filled with feelings of resignation, fate, and melancholy. This sense of loss (a permanent loss that cannot be repaired and whose effects last a lifetime) can be characterized loosely by the Portuguese word “saudade”, or longing. Fado (Portuguese pronunciation: faou), means "destiny, or fate". It represents an amalgam of several distinct cultural backgrounds which combine Afro-Brazilian folklore, local regional forms of song and dance, musical traditions, and urban patterns of the song from the early nineteenth century. Fado songs are typically performed by a solo singer, male or female, normally accompanied by a wire-strung acoustic guitar, often accompanied by the unique Portuguese guitarra which has twelve strings. It is a pear-shaped cittern acoustic guitar with an extensive repertoire that has recently been extended to two Portuguese guitars, a guitar and bass. Both the two major styles of fado have roots in marginality and transgression. A fado following grew in the early 1900s in places where sailors and prostitutes gathered, but it encountered some difficulty during 1926, when censorship caused major changes to urban entertainment, placing heavy restrictions on shows and venues. Through radio, fado found its way into Portuguese homes, and in the 1990s, it found its way into world music circuits. Informal tuition occurs within traditional performance spaces, often by respected older exponents, and takes place over generations within a single-family. Fado has been popularized as a symbol of Portuguese identity through emigration and the world music circuit, thus contributing to a process of cross-cultural exchange involving other musical traditions. Nowadays various genres of Fado are performed professionally on the concert circuit and in small ‘Fado houses’, as well as by amateurs who gather in numerous grass-root associations throughout the old neighborhoods of Lisbon. | ||||||||||
| Falak Music (edit) | Falak, means 'heaven', 'fortune', and 'universe', and is the traditional folk music of Tajikistan. It is played at weddings, celebrations, and other events. There are three musical styles in Tajikistan: Pamir (Mountain-Badakhshan province), Central Kuhistoni (Hisor, Kulob, and Gharm provinces), and Sogdiana's northern style, which is part of the same musical culture as adjacent Uzbekistan (Kashkadarya Province and Surkhandarya Province). Tajikistan was a federal part of Uzbekistan and part of the Soviet Union until the 1920s. In 1929 Tajikistan separated from Uzbekistan but remained in the Soviet Union. Consequently, Tajik folk music, instruments, and culture are similar to Uzbekistan's folk music. Roots extend back hundreds of years and is influenced by Central Asian culture. Tajikistan was part of the great culture during the Islamic golden age, with the official language of Tajiki being a branch of the Persian language. Because of this, Persian poetry plays a significant role in Tajikistan's folk music. Many folk songs have Persian lyrics from Rumi or other great Persian poets. In this way, Tajikistani folk music has a strong connection with Sufi music. Tajik music is closely related to the music of other Central Asian countries. Tajikistan has a classical form of music called shashmaqam, which is distinctive in Uzbekistan. Southern Tajikistan has distinctive folk music called falak. Tajikistan's folk music is divided into different styles other than shashmaqam. In shashmaqam, most songs come from Sufi poetry and they are in Persian. Falak is a highly expressive and philosophical musical genre performed by either male or female soloists with instrumental accompaniment or dancers. The instruments used for falak performances are traditional Tajikistani percussion instruments, like the violin and the flute. The songs most commonly described in falak are love, pain, suffering, the homeland, separation, and the hope of a reunion between a parent and child or between lovers. Falak singers, called falakkhons. Falak performs during festivities and rituals, and there is a limited range of Falak music, generally descending scale with a hexachord (six notes). There are many instruments that make up Falak; among them are ghijak (spike fiddle), nay (Persian flute), dombura (long-necked lute), and percussion instruments. However, falak music is an identity marker in the mountain communities and is viewed as a state of mind, which is passed from one generation to the next through formal education | Art • Music | Tajikistan | (04) Quality Education • (11) Sustainable Cities and Communities | |||||||
| Falconry (edit) | For over 4000 years, falconry has been a traditional practice, and it has been documented in many different parts of the world. The practise of falconry in the early and medieval periods of history can be found in many different places. In medieval Europe, the Middle East and the Mongolian Empire, falconry was a popular sport and status symbol, particularly among noble families. A peak in falconry might have been reached in the 17th century in the UK and parts of Europe, but it dwindled over time. Guns became popular for hunting in the late 18th and 19th centuries. Today, falconry involves people of all ages in many countries and focuses on protecting falcons, quarry, and habitats, as well as the practice itself. Several entities support falconry, including falcon hospitals and breeding facilities, conservation agencies, and traditional equipment manufacturers. Falconers have different backgrounds and practices, but they share universal values, traditions, and practices like the methods of breeding, training, caring for birds, equipment used, and the bond they have with birds. In traditional falconry, the northern goshawk and peregrine falcons are the most commonly used birds. Despite their popularity, Harris' hawks and red-tail hawks are more commonly encountered today in North America and the UK. Northern goshawk and golden eagles are more popular in Eastern Europe than elsewhere. Saker falcons are the most traditional species flown against the houbara bustard, sandgrouse, stone-curlew, and other birds in the Middle East. In medieval times, falconers rode horses, but this is rare except in Kazakhstan and Mongolia. In Kazakhstan, Kyrgyzstan, and Mongolia, golden eagles fly (often on horses), while hunting animals such as foxes and wolves. Modern veterinary practices and radio telemetry attach transmitters to free-flying birds. These have allowed falconers to pursue styles of flight that previously led to the loss of their hawk or falcon. Originally a means of obtaining food, falconry has acquired other values over time and has become a way of interacting with nature and connecting with communities. Throughout many countries, it is regarded as an important cultural symbol and has been passed from generation to generation through mentoring, within the family unit or through training clubs. | Craftsmanship and Practices • Entertainment and Recreation | Kazakhstan • Kyrgyzstan • Mongolia • Pakistan • Qatar • Saudi Arabia • Syria • United Arab Emirates • Austria • Belgium • Croatia • Czech Republic • France • Germany • Hungary • Italy • Netherlands • Poland • Portugal • Slovakia • Spain • Morocco • Korea | (04) Quality Education • (15) Life on Land • (17) Partnerships for the Goals | Unesco • Animals | ||||||
| Fest-Noz (edit) | Fest-Noz is an annual Breton-style festive gathering in which people gather together to dance and sing and listen to traditional Breton music. In the Breton cultural movement, a living practice of hundreds of variations of inherited dance repertoire has been preserved, and thousands of tunes have been created. About a thousand Fest-Noz take place every year with a hundred to several thousands of participants participating, and thousands of musicians and singers performing. There are also thousands of dancers who attend every year. Beyond the dancing itself, the Fest-Noz is characterized by a strong camaraderie among the singers, musicians, and dancers, significant social diversity, and openness that extends to all. Some of the traditions of the Fest Noz and fêtes folkloriques may seem modern, but most of their traditional dances date back to the Middle Ages. Those traditions provide the community with a way to grasp hold of the past and to feel a deep sense of belonging to their ancestors and to their place. A ferment of musical experiences has come to characterize Fest-Noz today, which has been spawning a veritable cultural economy. Many meetings between musicians, singers, and dancers come to take place among Brittany and from other cultures. Moreover, Festival-Noz is also heavily embedded in Brittany's sense of identity and continuity which is why many new residents use it as a means of integration. The term fest-noz is given to a traditional dance festival in Brittany. Most Breton dances are social dances, performed in groups. Also gave young people an opportunity to meet and size each other up by their clothes as well as to see their energy levels since dances can last for a long time and involve complex, fast steps that require effort and skill. Transmission typically takes place through immersion, observation, and imitation; However, hundreds of devotees have compiled repertoires with traditional bearers and laid the groundwork for new methods of transmission. Today, many festivals are also held outside Brittany within the diaspora, preserving and spreading the Breton culture outside Breton territory. Festoù Noz is still popular amongst the different generations. Most of the villages host a festival at least once a year, in conjunction with the sports clubs, the schools, etc. This is a way of expressing their culture and identity as a unique group and sharing common values with friends of the same generation. In many group folk dances, people sometimes enter a trance state because of repeated music and physical exertion. Fest-nozzes are often seen as an alternative to nightclubs during the summer and tourist seasons. ===References=== (https://ich.unesco.org/en/RL/fest-noz-festive-gathering-based-on-the-collective-practice-of-traditional-dances-of-brittany-00707) (https://en.wikipedia.org/wiki/Fest_Noz) | Dance • Entertainment and Recreation | France | (11) Sustainable Cities and Communities | |||||||
| Fiesta De San Pacho (edit) | The Fiestas de San Pacho is an annual celebration embedded in the popular-rooted religion of Afro-Descendant Chocó identity. The celebration takes place in Quibdó, Colombia, and alternates religious and pagan expressions. It is held on the 20th of September and ends on the 5th of October. It represents Afro-Chocoan cultural identity and updates both the way in which the religious experience is taken into account, as well as what is essential to it in the realm of music, dance, and theater. It is an essential space for Chocoanos, as a part of their religious, social, and political lifestyles. As a representation of the culture of Chocoanos, it allows them to recognize that different colonies of Chocoanos celebrate their 'San Pachito'. There are twelve neighborhoods in Quibdó that make up the celebration, on which the commitment of organizing everything related to the party falls. Every morning, the people of Quibdó gather for mass at the Franciscan Church. During the afternoon, the celebration turns into a dance that is liberating and the theater brings back the facts of oppressive daily life and historical discrimination against Africans. This is followed by a parade of carnival groups that will feature costumes, dances, and chirimia music. Each district will hold a morning mass and allegorical floats or carnival groups in the afternoon. On October 3, the image of the Saint travels from neighborhood to neighborhood on rafts. The patron saint traveled the Atrato River in boats, and on October 4th people celebrated the dawn with devotional hymns. In the evening, people performed the Grand Procession of the Saint. On October 4, the procession of the patron saint goes through neighborhoods, giving offerings to the Saint by carried out through a theater built in his honor. The festival is often believed to honor San Francisco de Asis, but in actuality, it is transformed into a carnival. The Grand Procession is an important part of the festival, a procession of floats, district altars, costumes, and street decorations, made by the local artists and craftspeople. Certain families helped to organize the events, preserve know-how, and keep the tradition alive through the Franciscan Festival Foundation. As of today, Quibdó Festival is still the most important symbolic event in the life of the Chocó. It is also one of the most important spaces where Chocó identity is developed, social cohesion is fostered, and creativity and innovation are encouraged through the revival of traditional knowledge and respect for nature. ===References=== (https://ich.unesco.org/en/RL/festival-of-saint-francis-of-assisi-quibd-00640) (https://es-m-wikipedia-org.translate.goog/wiki/Fiesta_de_San_Pacho?_x_tr_sl=es&_x_tr_tl=en&_x_tr_hl=id&_x_tr_pto=sc) | Craftsmanship and Practices • Dance • Entertainment and Recreation • Music • Ritual | Colombia | (09) Industry • Innovation and Infrastructure • (11) Sustainable Cities and Communities | |||||||
| Fiesta Del Gran Poder (edit) | Celebrated in La Paz, Bolivia, the Fiesta de Jesus del Gran Poder or Festividad del Senor del Gran Poder, is held on the Day of the Holy Trinity. This festival incorporates different religious and festive practices from the Aymara and Catholic cultures, including the Ch'alla, the folk entrances, and the celebration of Catholic Masses. The festival's origins date back to 1663 when the Convent of the Conceptionist Mothers was founded. Prior to the establishment of the convent, applicants had to carry an image with them, and the nun Genoveva Carrión carried a canvas of the Holy Trinity, which consisted of an image of God with three faces, and so represented the Holy Trinity; Father, Son, and Holy Spirit. In recent years, festivals are increasingly taking over public spaces such as streets and avenues, with festivals such as the Senor del Gran Poder becoming a neighborhood celebration according to the parish's founding date or in honor of a patron saint. The Festival of the Santisima Trinidad del Senor Jesus del Gran Poder is based on a particular way of understanding and living with Andean Catholicism. The celebration begins with a procession through the western part of the city. The following day, in honor of his patron saint, the procession members carry him solemnly through the Gran Poder district; devotees celebrate with incense, flowers, and confetti. Throughout the year fraternities prepare musical repertoires; jewelers and embroiderers transmit their know-how within their families of the Gran Poder, and devotional services, evenings, and processions are held. These ceremonies are their own folkloric expression, preste, and also, have a syncretism with the Aymara religion and Catholicism. A public space may become a private space for the protagonists, who set up chairs and tables, dance spaces, waiters, and bodyguards. Party venues were originally used for such events, keeping the private sphere intact. All the activities and attitudes are manifested in Andean ways. The fairs, patron saint festivities, or the beginning of planting, are done for the community, by the community. Individuals disappear replaced by the collective being, which is becoming reality: the ayllu has become a tangible organic unit, which has its own determination. Nowadays, these events are held in public spaces and party venues are proliferating as a complementary commercial activity, an example of an agglomeration economy. However, by participating in this cathartic confluence, the community connects with itself and nature, affirming a will to live (undoubtedly, the party is aimed at ensuring collective survival). | Belief • Dance • Entertainment and Recreation • Music • Ritual | Bolivia | La Paz | |||||||
| Fiesta Of The Patios (edit) | At the beginning of May, the city of Cordova celebrates the Festival of the Patios for 12 consecutive days. The Patios are community, family, or multi-family dwellings or sets of individual houses with their own shared patio, located in the city's historic quarter. Residents openly welcome visitors to admire the dwelling's beauty as well as the skill involved in their creation. This characteristic cultural space boasts an abundance of plants and flowers. Also found on the patios are traditional songs, flamenco guitar playing, and dancing. Historically sustainable communal coexistence is shared with visitors through affectionate expressions and shared food and drink. Patios are hidden behind the homes, doors, and walls of the city, and they are privately owned, but for one week of the year they are open to the public, so anyone can come and enjoy them. Since the first patios event in 1918, Cordobesians have been cultivating their patios every day. Since Roman times, the Patios in Cordoba have been a tradition. Located in a region with extreme temperatures, the Patios required constant care and attention all year around. It is no small feat when you consider the fact that temperatures in Cordoba can exceed 40°C in the summer, and frost can form at night. In order to cope with this harsh climate, early Romans and later Muslims built homes in a particular way. These houses incorporated a courtyard in the center of the house, creating a cool, shaded space inside the building complex where families would congregate to escape the summer heat and collect rainwater. Muslims were the first to create patios and inner spaces designed to have a sense of freshness. They introduced water features and plants, which actually enhanced the sense of freshness and tranquillity. Some of the temperatures inside the patios were said to be between 10°C - and 15°C cooler than the street outside the house, a difference that was huge during the summer months. Muslims also placed a great deal of emphasis on the social aspect of patios. They considered the patio to be not only a place of beauty and tranquillity but a place where people could meet and socialize. Every year the festival's hours remain the same, from 11 am to 2 pm and from 6 pm to 10 pm. During the festival, all patios are open for free, though donations are greatly appreciated by the owners, who put the money towards maintaining the patios. | Art • Craftsmanship and Practices • Entertainment and Recreation | Spain | Córdoba | |||||||
| Fjiri (edit) | Bahrain’s Fjiri is a musical performance that commemorates the history of pearl diving in the country. Before oil was discovered in 1932, most men in the country were pearl divers. They spent months at a time sailing out to sea, scouring the ocean depths in search of precious gemstones. It was a stressful and often dangerous profession, so many of the divers needed some way to let loose while off-duty. That’s how Fjiri came about. Rhythmic, hypnotic, and frantic all at once, fjiri expresses the deep connection Bahrainis have with the ocean as well as the dangers of its native pearl divers. A 19th-century music and dance tradition from Muharraq, musicians use instruments such as finger chimes, drums, and a clay pot known as a jahl. They sit around the edge of a circle, while a lead singer and dancer occupy the center. There are set structures for fjiri, with a common variation featuring five stages played sequentially. In the beginning, there is fjiri bahri, which sets the mood. Then comes the slower, contemplative melody of the adsani, which will stir emotions. The third stage is ahadi, which is followed by mkholfi, which relieves stress and is meant to make the musicians feel comfortable. The last one is known as the “hip-hop of Bahrain”: fjiri hasawi. Today, the practice has been seen spread in the Kingdom of Bahrain through festival performances, with groups such as the Ismael Dawas Band, still practicing every Wednesday evening in Muharraq. People who keep the tradition alive today are not professional pearl divers, but professional musicians. The younger generation is also encouraged to participate in order to preserve the practice for the future. This folk-art form has become well-known throughout the country and is seen as a way to express the connection between the Bahraini people and the sea. The words, rhythms, and instruments are emphasized to convey the values of strength, perseverance, and resourcefulness. Fjiri is usually performed in cultural spaces called durs by descendants of pearl divers and pearling crews and by others. It is usually transmitted through a process of practice in the durs, followed by a performance for audiences. Although it is performed by all-male ensembles, Fjiri is enjoyed by all members of the community. | Art • Music | Bahrain | (04) Quality Education • (12) Responsible Consumption and Production • (14) Life below water | |||||||
| Flamenco (edit) | Flamenco is a form of artistic expression from Andalusia in southern Spain that integrates song, dance, and musicianship. The term 'flamenco' was first recorded in the late 18th century, but many believe it is much older. Its evolution was largely influenced by the Andalusian Roma ethnic communities. The vocal expression of flamenco, known as cante, is performed by men and women, preferably sitting down, and does not include backing vocalists. The Flamenco dance (baile) is a dance of passion and courtship, expressing feelings such as grief, joy, tragedy, rejoicing, and fear. A Flamenco dancer tries to convey his or her deepest emotions through body movements, facial expressions, and even tiny percussion instruments called "castanets." As he or she performs, dancers often clap their hands or kick their feet. There are many emotions and states of mind that can be expressed through sincere, expressive lyrics that are characterized by brevity and simplicity. The technique is complex and depends on whether the performer is male, using heavier feet or female, using gentler, more sensuous movements. The art of playing the guitar, or toque, has long gone beyond its original role of accompaniment. Flamenco is performed as part of religious festivals, rituals, church ceremonies, as well as private celebrations. This is a badge of identity for numerous communities and groups, especially Gitano (Roma) ethnic groups. There is no set tempo for Flamenco, which can have alternating fast and slow passages culminating in a climax near the end. Flamenco has evolved throughout its history. In the 18th century, songs were sung without any accompaniment from the guitar. The guitar came into use in the 19th century, while in the second half of the 19th century, the solo guitar became a part of flamenco concerts, based on a variety of folkloric music traditions. It has been historically present in the regions of Andalusia, but also in Extremadura and Murcia. Flamenco has a uniquely Andalusian style, and its artists have historically included those of both gitano and non-gitano heritage. This popular art form is preserved and spread through dynasties, families, social groups, and Flamenco clubs. A new generation of artists is revolutionising the genre and the Spanish music scene includes both traditional flamenco and a more eclectic mix of styles. | Art • Dance • Music | Spain | ||||||||
| Flatbread (edit) | Flatbread-making and sharing are part of the culture of Azerbaijan, Iran, Kazakhstan, Kyrgyzstan, and Turkey, which has enabled it to persist as a widely-practiced tradition. According to Gil Marks, a food historian, lavash originated in the Middle East more generally than in Armenia, but some scholars say it originated in Iran. Lavash traces its roots to the early invention of making thin flatbreads on terracotta griddles, according to Gil Marks. Initially, bread was cooked as cakes either on heat rocks or in embers, but as griddles were developed, bread had to be made thinner to cook properly without burning, as described in the bible in the rakik recipe. The invention of early ovens made thicker loaves possible. The process of making the bread (lavash, katyrma, jupka or yufka) involves at least three people, many of whom are family members who take turns preparing and baking it. In rural areas, neighbors work together in the process. The bread is also baked in traditional bakeries. It is baked on earth or with stones using a tandyr/tanur a ground oven, a saj (a metal plate), or a kazan (a cauldron). Instead of the tonir, a griddle or wok can be used in the modern kitchen to adapt the recipe. Aside from regular meals, flatbread is eaten at weddings, births, funerals, holidays, and at prayers. Traditionally, in both Azerbaijan and Iran, it is put on the shoulders of the bride or crumbled over her head to wish the couple prosperity. Meanwhile, in Turkey, it is given to the couple's neighbors. Kazaks believe that the bread should be prepared before God makes a decision for the deceased, while in Kyrgyzstan, it is believed that the deceased will have a better afterlife if they share the bread together. Through participation within families and through teaching from master to apprentice, the practice represents hospitality, solidarity, and certain beliefs that represent cultural roots that reinforce community identity. Furthermore, lavash baking is a common theme that has inspired Armenian painters. An example is the portrait of Minas Minassian, a famous Soviet-era artist, on display at Yerevan's National Museum of Art. Also, during U.S. President Gerald Ford's administration, a print of the painting Armenian Ladies Baking Lavash, by Armenian American artist Manuel Tolegian, was included in the White House Bicentennial Collection. As of today, Lavash-related paintings and handiworks can be found at the weekend open-air arts-and-crafts market in Yerevan, where happy women are often seen making lavash. ===References=== (https://ich.unesco.org/en/RL/flatbread-making-and-sharing-culture-lavash-katyrma-jupka-yufka-01181) (https://en.wikipedia.org/wiki/Lavash) | Art • Belief • Food | Azerbaijan • Iran • Kazakhstan • Kyrgyzstan • Turkey | (11) Sustainable Cities and Communities | |||||||
| Flower Carpets (edit) | The custom of making flower carpets is closely linked to the celebration of Corpus Christi in Poland. At the end of the 14th century, the feast had already been celebrated in every Polish diocese. For more than 200 years, Spycimierz, a small village in Uniejów (central Poland), has created colorful flower carpets along the Corpse Christi procession route. The decorative element was originally yellow sand and tree branches, but flowers were introduced in the 1920s. Symbols and religious paintings were placed on floral rugs, and it was dominated by rosettes. Other decorative elements included leaves, cereal ears, and bark from trees. Throughout the Spycimier ceremony, gates are a unique element. In the present day, two are erected: one above the procession passage, one at the entrance to the church square. These are substantial constructions, 6 meters in height and 4 meters wide, which must be prepared well in advance. The frame of the gates is surrounded by coniferous branches, in which colorful flowers are woven. Flowers are woven into the delicate branches of spruce that hang from the upper beam, on which the cross and the religious image are fixed. Flower gates, representing the passage, complement the symbolism of flower rugs. Families in several villages set up colorful and symbolic carpets along the route of the procession in front of their homes. These flower carpets cover the road that leads from the church through the village and can be almost two kilometers long. A number of hours are spent in preparation, and the end result is a temporary and collective art piece meant to express spirituality and creativity. In Poland, the feast is celebrated in a very special way. They usually start from the church and then proceed to four altars arranged at a certain distance from the church. The Gospel is read at each altar. Spycimierz tradition endures and is passed from generation to generation. The pattern is also regularly made in schools, with support from the local parish and non-governmental organizations. The parishioners and Uniejów Commune take care of their preservation by participating in co-financed projects from the Ministry of Culture and National Heritage. Numerous investments have been made including the Spycimierz Corpus Christi Centre. Over time, the tradition has united the entire community, and it has shaped local identity. | Art • Craftsmanship and Practices • Entertainment and Recreation • Ritual | Poland | (11) Sustainable Cities and Communities | |||||||
| French Equestrian (edit) | In the French tradition, equitation is a method of horseback riding that focuses on the harmony of human and horse relations. Founded in 1828, the Black Cadre is a corps of instructors at the French military riding academy École Nationale d'Équitation. Located at Saumur in western France, it is one of the most prestigious classical riding academies in the world, and its name comes from its black uniforms that are still in use today. It also performs as an equestrian display team. Saumur's role in the French cavalry was to provide training for equitation to officers and non-commissioned officers. The style of equitation derived from the Saumur School of Cavalry was taught by François Robichon de La Guérinière who was the French riding master to King Louis XV. He wrote the manual École de Cavalerie in 1731. The basic principles of horse training revolve around nonviolence and a lack of restriction, blending human demands with respect for the horse's mood and body. A horseman's skill, complemented by knowledge of the animal itself (physics, psychology, and anatomy), combined with respect for the horse, ensures the horse participates in the exercises without coercion. The fluidity of movements and the flexibility of joints ensure the horse doesn't feel coerced. Although the exercises are done throughout France and the world, the Saumur Cadre Noir Community, based at the National School of Equitation, is the most known. Most riders share a deep desire to establish close relationships with their horses, establish mutual respect, and strive to achieve 'lightness'. Younger riders are motivated by the enthusiasm of older riders, leading to the strong cooperation between generations. As well as instructors, horse breeders, craftspeople (saddlers, bootmakers), and veterinary services, Saumur offers blacksmithing and veterinary services. By hosting frequent public displays and galas, the Cadre Noir of Saumur helps to keep equitation visible in the French tradition. Although the Saumur National Riding School was disbanded in 2005, the prestige of French horsemanship ensured its survival under the Ministry of Sport. Accordingly, in 1972, the National School of Équitation was formed around the Cadre Noir, which provided the school with a core teaching staff. Currently, about 50 horses are included in the team, which is limited to only 22 riders. Members of the Cadre Noir are either civilians or military; they are distinguished by the insignia on their collars which symbolically represent a grenade for the military, or sun for the civilians. Many of these riders have won great honors at the highest levels of international competition, such as Olympic or world champions. ===References=== (https://ich.unesco.org/en/RL/equitation-in-the-french-tradition-00440) (https://en.wikipedia.org/wiki/Cadre_Noir) | Entertainment and Recreation | France | (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities | |||||||
| Frevo (edit) | Frevo is a style of music and dance that originated in Recife, Pernambuco, Brazil, and is associated with Brazilian Carnivals. Frevo derives its name from frever, which is a variant of the Portuguese word ferver (to boil). Listeners and dancers are said to feel like they are boiling on the ground while listening to the frevo. Frevo dance takes its cue from the skill and agility of capoeira fighters, who perform an elemental dance as they leap to the electric sound of steel orchestras and bands. Throughout the 19th century, Brazilian Army musicians would perform during Carnival. Since carnival is associated with Catholicism, the musicians would combine religious processions and military marching to create the parades they were known for. Because of the violent nature of this tradition, many capoeira musicians were arrested during their performances because the capoeira movement disguised itself as a dance movement. The frevo dance was born when dancers (passistas) reacted by using umbrellas instead of knives. Each dancer worked hard on developing a new movement that required much rehearsal, strength, endurance, and flexibility, and the battle between the groups moved from the physical to the aesthetical. The Frevo dance includes jumps, coordinated fast leg movements, leg flexions, and tumbles, among others. It is now more commonly known as passo and frevo dancers as passistas. Their attire has also evolved from simple clothes to skimpy attire. They are also very colorful to make them more noticeable in a crowd. Starting in the 1950s, one of the most important contributors to the passo is Nascimento do Passo. It's said that he created over 100 different movements for the passo. In the late 1990s, he founded the first Frevo school in Recife. His image is one of the most prominent icons of the carnival in Pernambuco. Frevo and Passo practitioners are part of associations, each of which participates in a parade to raise money for its headquarters. They support the development, preservation, and transmission of knowledge and skills related to Frevo. The element of Frevo also relates closely to the beliefs and symbols of the practitioners’ religion. When contemplating the future of frevo, we must invest in a continuous process of reflection, creation, experimentation, and diffusion that will lead to innovative products, business models, and creative chains. | Art • Dance • Music | Brazil | Pernambuco | |||||||
| Fujara (edit) | The Fujara, an extremely long flute made with three finger holes, is regarded as the most integral part of the traditional culture of Central Slovakia. Shepherds living in mountain huts located in remote regions, far from human settlements south of the Low Tatra Mountains, played these instruments to cope with their solitude. They used them to guide and signal their sheep, as well as to communicate with one another across the alpine slopes. For hundreds of years, Fujara music has been passed down through generations. The instrument has become more and more complex, becoming richer and deeper as it grows. From the 17th and 18th centuries, the instrument had become a symbol of resistance against the foreign rule by the nobility. Many songs portray the fight of the serfs against their oppressors. Because of the specific construction of the instrument, the Fujara player can alter the blowing pressure of the instrument to produce various overtones and play notes using the three-tone holes. It has a wide range of sounds from the lowest low-level bass notes to high-intensity notes in the upper register. The Fujara is characterized by its deep and mumbling tones and has high overtones which can be achieved through the length of the instrument. This instrument consists of the main tube that stretches between 160 and 200 cm in length and a shorter tube that is 50 to 80 cm in length. The melody and sound can be melancholic or rhapsodic depending on the content of the songs, which are related to the shepherds' life and work. The repertoire consists of melodies that were determined by the technical features of the instruments and sounds that mimic nature. In the nineteenth and twentieth centuries, the Fujara became well known and appreciated outside of the shepherds' use. It was featured in several festivals throughout Slovakia, and musicians from the region, as well as a small number of shepherds, were performing their traditional music. The Fujara is played on various occasions throughout the year, but mainly from spring to autumn by professional musicians and performers at festivals. Nowadays, the Fujara has moved from the fields to the stage, to folk festivals in Slovak towns like Vychodna and Detva. It has also left Slovakia and is being played throughout the world by aficionados of native flutes, especially those in western Europe and North America. However, it remains little known outside of Slovakia, even though it is becoming increasingly popular. As a result of the communist era and the political developments of the 1990s, significant changes have taken place in the social, cultural, and economic spheres. In particular, youth have become disengaged from traditional folk art. Yet individuals are striving to preserve the Fujara and its knowledge and skills. ==References== [https://ich.unesco.org/en/RL/fujara-and-its-music-00099] [https://www.vsl.co.at/en/Fujara_Flute] [https://en.wikipedia.org/wiki/Fujara] | Craftsmanship and Practices • Music | Slovakia | (08) Decent Work and Economic Growth • (12) Responsible Consumption and Production • (16) Peace • Justice and Strong Institutions | |||||||
| Fujian Puppetry (edit) | It is a Chinese performing art primarily made up of string puppets and hand puppets. The art has developed its own technique of performance and puppet designing, as well as a repertoire of plays and music. This performing art became popular in Quanzhou, Zhangzhou, and the surrounding areas as early as the 10th century. Hand puppetry is also called Boo Dei Hi. The history of Fujian Puppetry includes a considerable amount of traditional plays and changqiang, which are vocal parts of Chinese opera. As well as these creations, a unique performing system and superb craftsmanship have developed in the modeling of puppets. Since the 1980s, changes in economic production and lifestyle, economic globalization, and cultural diversification have left many young people reluctant to learn and inherit Fujian Puppetry. On the other hand, the highly sophisticated performing techniques, which need intense and long-lasting practice, have also contributed to their reluctance. Due to both socioeconomic changes transforming people's lifestyles and the long periods of training required to master the complex performing techniques, the number of young people learning puppetry has declined since the 1980s. Community groups, groups, and practitioners formed the 2008-2020 Strategy for Training the Next Generation of Fujian Puppetry Practitioners in response. Several key points of a puppet show to enjoy include the dexterity of the master puppeteer's hands, accompaniment from the orchestra, as well as the poetic spoken parts of the voice actors. Human vocal music and operatic singing are seldom heard from traditional po-te-hi to modern performances, with few exceptions. The key objectives of the project include safeguarding the transmission of Fujian Puppetry and enhancing its sustainability through professional training, as well as by developing new puppetry practitioners, compiling teaching materials, opening performing venues, training institutes, and exhibition halls, and educating people non-formally and formally. There will be regional and international cooperation and artistic exchange. This strategy has resulted in the involvement of a wide range of practitioners and educational institutions. As a result, the training of 200 potential practitioners, the establishment of 20 public puppetry groups, and the provision of financial support for representative bearers have taken place. As of today, its strategy was developed in response to the puppet holders' desire, and it relied on the common participation of governments, communities, and schools. Hopefully, Public interest and government support, as well as the enthusiasm of communities, groups, and individuals, keep contributing to the success of this initiative. ===References=== (https://ich.unesco.org/en/BSP/strategy-for-training-coming-generations-of-fujian-puppetry-practitioners-00624) (https://en.wikipedia.org/wiki/Glove_puppetry) (http://xiamen.chinadaily.com.cn/2019-11/05/c_424516.htm) (https://www.ichlinks.com/archive/elements/elementsV.do?nation=CN&page=1&elementsUid=13829896122464900234&mode=grid) | Art • Craftsmanship and Practices • Entertainment and Recreation • Music • Verbal Arts and Literature | China | (11) Sustainable Cities and Communities | |||||||
| Gada System (edit) | Gada is a traditional system of governance used by the Oromo people in Ethiopia developed from knowledge acquired by community members over generations of experience. This system regulates the political, economic, social and religious activities of the community, which covers issues such as conflict resolution, reparations, and protecting the rights of women. Encouraging a sense of community culture, reinforces moral behavior, builds social cohesion, and expresses a sense of cultural identity in a way that is both safe and conducive to self-respect. An elected assembly rules Gada and comprises five classes, one of which functions as the ruling class and has a king, officials, and a chairperson. The class has to pass through a series of grades before it can act in the role of authority, with changes of leadership occurring on a rotational basis every eight years. As far as membership is concerned, men who have their own fathers as members can join the class, and women are included in the decision-making process on protecting women's rights. There was a time when the Oromo governed themselves according to the Gada system long before there were major three-party wars between them and the Christian kingdom to their north, as well as the Islamic sultanates to their east and south. Therefore, what happened was that the Oromo religion absorbed both Christian and Islam religions. A group of Borana and Guji people who live near the Ethiopia-Kenya border has been able to practice Gadaa without interruption. Throughout the state of Oromia under the Federal system of Ethiopia, the Gadaa system started a renaissance that spread into all parts. After nearly two centuries of interruption, the Gadaa Center at Odaa Hullee was reinstalled in 2018, following the opening of the Gadaa Center at Odaa Bultum. Class topics include history, laws, rituals, time reckoning, cosmology, myths, rules of conduct, and the Gada system. The Gada generally hold meetings and ceremonies under sycamore trees (a symbol of the Gada) and major clans have established Gada centers and ceremonial spaces according to their territory. The Gada system is taught to children in the home and in the school where they are raised. | Craftsmanship and Practices • Ritual | Ethiopia | ||||||||
| Gamelan (edit) | Gamelan refers to the traditional Indonesian percussion orchestra and its instruments. The main instruments are hand-forged percussive instruments, including xylophones, gongs, gong-chimes, drums, cymbals, string instruments, and bamboo flutes. Gamelan music follows a strict set of rules and techniques regarding tuning, layout, rhythmic and metric patterns, and performance. Typically, a melody is played simultaneously by several instruments, and multiple instruments may play interlocking parts to form a single rhythm. This is typically played for religious rituals and ceremonies, traditional theater, festivals, and concerts, by men, women, and children of all ages. It is also used for music therapy and is seen as an expression of human feeling and a connection to the universe. It is an integral part of Indonesian identity for thousands of years, dating back as far as the eighth-century relief sculptures of the Borobudur temple during the Hindu-Buddhist predominant. Gamelan is practiced by vocalists, instrumentalists, instrument makers, and tuners. It continues to be passed down from generation to generation through both formal and informal education, including classrooms and after-school activities. Gamelan has been an influential part of Indonesian culture. Although it is played in many parts of Indonesia such as in Sumatra, Kalimantan, and West Nusa Tenggara, it is mostly known and practiced in Java and Bali. There are many gamelan styles, and they differ by their collection of instruments, voice, tunings, repertoire, style, and cultural context. In general, no two gamelan ensembles are the same, and those that originated in prestigious courts often have their own style, tuning, and repertoire. Certain styles may also be shared by nearby ensembles that lead to regional styles. Most of the varieties are geographically grouped, with the main division between the styles favored by the Balinese, Javanese, and Sundanese peoples. Javanese gamelan is slow in tone and dynamics with fast music rhythms, while Balinese gamelan is strong in tones and dynamic tones with soft music rhythms. Sundanese gamelan, which is dominated by the sound of flutes, is not only slow but equally mellow. Indonesian gamelan is often used in religious rituals such as sekaten and galungan, and in various ceremonies such as the king's coronation ceremony, wedding receptions, and funeral ceremonies (Ngaben in Bali). In addition to traditional dances (all traditional dances in the islands of Java and Bali are accompanied by gamelan music), the gamelan is also used in dance-drama performances (combined drama and dances), such as Ramayana Ballet (a popular dance-drama performance in Javanese culture). Other traditional performances accompanied by gamelan include wayang puppet performances (such as wayang kulit, wayang golek, and wayang beber), the traditional theater performances (such as ludruk and kethoprak), the singing performances famously known as campur sari and tembang Sunda, and the various regular festivals in Solo, Yogyakarta, and Bali. Contemporary Indonesian music scene groups fuse local ethnic music traditions with modern jazz fusion music. Krakatau and SambaSunda combine the traditional Sundanese kacapi and gamelan degung with the drum set, keyboard, and guitar. In addition, they also include traditional Sundanese music traditions, such as Javanese kacapi suling and Javanese gamelan orchestra. Bands such as Bossanova Java fuse Javanese music with bossa nova, and the Kulkul. Anggun is an Indonesian singer based in France who incorporates into her works gamelan music and tembang style of singing. Examples are 'Snow on the Sahara' and 'A Rose in the Wind'. Several factors led to the exportation of Indonesian gamelan. The migration of Indonesians (Javanese, Balinese, or Sundanese) to other countries leads to the introduction of gamelan abroad. The government of Indonesia also actively promotes culture internationally through cultural missions and scholarship programs. | Art • Music • Ritual | Indonesia | (03) Good Health and Well-being • (04) Quality Education • (05) Gender Equality | Performing arts | ||||||
| Gangneung Danoje Festival (edit) | On the Korean peninsula, the Gangneung Danoje Festival takes place every year in the town of Gangneung and its surroundings. The festival includes a shamanic ritual on the Daegwallyeong Ridge, honoring the mountain deity and male and female tutelary deities. It also includes folk songs and Odokddegi folk songs, as well as dances, mask dramas, oral narrative poetry, and various popular pastimes. As an essential element of the festival, the Nanjang market, Korea's largest outdoor market, is a trading center for local goods and handicrafts. It is also a venue where contests, games, and performances by the Korean circus are staged. While the origin of this story is not fully known, according to Nam-hyowon's account, shamans prayed to God for three days in March, April, and May. Furthermore, Heo-gyun wrote in his book that he personally saw the Gangneung Danoje in 1603. Heo Gyun also wrote that the subject of the memorial service is General Kim Yu-shin. Having unified the three kingdoms, Kim Yu-sin died and became a mountain god in Daegwallyeong. According to legend, God visited Daegwallyeong every year to greet and entertain the gods. To have a prosperous harvest in the year the god was happy, but to cause a natural disaster if he was angry. Because of this, all of Myeongju gathered to sing, dance, and serve God. This is why the first festival occurred in Daegwallyeong Several rituals are held during the four-week period of the festival, beginning with the production of the sacred liquor and the Dano shamanistic rituals featuring a sacred tree, the sinmok, and the hwagae, an object made of feathers, bells, and bamboo wood. The coexistence of Confucian, shamanistic, and Buddhist rituals is one of the specific features of the festival. Through rituals devoted to its deities, the region is believed to remain free from natural disasters, allowing the region's residents to live in peace and prosperity. There is a large number of visitors to attend the various ritual performances, as well as actively take part in the festivities such as making fans for the Danoje festival, brewing a sacred liquor, drawing masks for the Gwanno Mask Drama, preparing Surichiwi rice crackers and washing their hair with Iris water. A Gangneung Danoje festival is an exceptional opportunity to learn about traditional culture. During the festival, people are brought into contact with various ethnic rites, including religious ceremonies, Dano Gut (a worship rite for the Shamans), mask drama, Nongak, Nongyo (farmers' songs), and other items of outstanding artistic value. As the cultural prototype of Korean festivals, Gangneung Danoje serves both as a cultural education space and a channel to transmit traditional culture. However, increased media coverage and cultural standardization have resulted in a loss of some of the traditional elements of the festival. ==References== [https://ich.unesco.org/en/RL/gangneung-danoje-festival-00114] [http://www.kampoo.com/eng/gw/gangneung/danojefestival.php] [https://en.wikipedia.org/wiki/Gangneung_Danoje] [https://english.cha.go.kr/cop/bbs/selectBoardArticle.do?ctgryLrcls=CTGRY210&nttId=58070&bbsId=BBSMSTR_1205&mn=EN_03_02] | Entertainment and Recreation • Ritual | South Korea | (04) Quality Education • (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities • (16) Peace • Justice and Strong Institutions | |||||||
| Garifuna's Language, Dance, and Music (edit) | Garifunas are descendants of an Afro-indigenous group from the Caribbean island of St Vincent who was exiled by the Honduran coast in the eighteenth century and later moved to Belize. The Garifuna live mostly on the coast, but some also live alongside the Creole population in the main towns. The Garifuna are mainly supported by agriculture, fishing, and foreign remittances sent by relatives abroad. Garifunas who live in the rural areas usually follow a subsistence lifestyle, with a few participating in the technical trades. Those in the urban areas, however, live similar to their Creole neighbors and are employed in professional occupations. Garifuna culture is a mix of Caribbean fishing and farming with South American music, dance, and spirituality. They combine the beats of Primero (tenor) and Segunda (bass) drums. Garifuna drums are generally made from hollowed-out hardwood such as mahogany or mayflower, which are native to Central America. Garifuna music styles are well-known for using percussion instruments and the use of different drumming styles. The most popular and well-known genre of Garifuna music and dance is punta, an evolved form of traditional music played using traditional instruments. As it evolved, punta lyrics were traditionally written by Garifuna women and often addressed a specific gender. An energetic punta dance was described as being consciously competitive. The Garifuna language is part of the Arawakan language group and has survived centuries of discrimination and linguistic dominance. It is rich in tales, originally recited at wakes or large gatherings, that combine African and Amerindian elements. The texts are a veritable repository of the history and traditional information, such as how to grow cassava, how to do fishing, and build canoes. A significant amount of satire is also present in these songs, which are accompanied by various drumming and dancing, in which spectators can join in as well. Apart from being a significant part of the Garifuna culture, dancing also plays an important role in the culture. One of the most famous of these dances is the Jankunu Dance, which is performed over the Christmas Holidays. The Garifuna people hold these traditions in high regard, as they are very important to their culture and survival. Elders, who are responsible for many of the ceremonies and celebrations, can maintain many of them. Economic migration, discrimination, as well as the complete absence of the Garifuna language from the school system are endangering their survival. Although they are still widely spoken, the language is only taught in one village these days. Garifuna has traditionally been victimized by discrimination and persecution, primarily because of their place within Creole culture which has a heritage of enslavement and Eurocentric assimilation, and whose stereotypes have sometimes excluded them as being too elemental and rural. ==References== [https://ich.unesco.org/en/RL/language-dance-and-music-of-the-garifuna-00001] [https://en.wikipedia.org/wiki/Garifuna] [http://globalsherpa.org/garifunas-garifuna/] [https://minorityrights.org/minorities/garifuna-garinagu/] | Dance • Music • Verbal Arts and Literature | Belize • Guatemala • Honduras • Nicaragua | (10) Reduced Inequalities • (14) Life below water • (16) Peace • Justice and Strong Institutions | |||||||
| Gbofe of Afounkaha (edit) | Gbofe is a performance that combines music with song and dance. It is believed that Gbofe horns are made from roots, which are covered in cowhide. The Gbofe is performed in Afounkaha in the Tagbana community of the Côte d'Ivoire. The term Gbofe refers both to the transverse horns and to the entire performance that includes music, song and dance. In total, six of these horns are used with a length ranging from 50 to 70 centimetres, which are often used at one time. There are a variety of sounds that are emitted from them, which have the potential meaning of representing Tagbana words and phrases. In turn, the female choirs "translate" these words into English. Gbofe music is composed of the rhythmic beat provided by the drums and the horns of the Gbofe accompanied by the sound of the horns providing the structure of the music. In the eyes of the locals, these dance steps symbolize the bravery, beauty, and victory of the warrior over a virtual enemy. There are various types of Gbofe played at ceremonial events and rituals, and the messages conveyed by them can vary depending on the circumstances: praise, love, satire, mourning, moral messages and so on. The Gbofe played an important role in conferring respect to the holders of the tradition, and also conveyed a sense of identity to the communities of the Gbofe. The various Gbofe performers undergo an apprenticeship before performing on the stage. Families often pass down the know-how from father to son, but if there is an interest on the part of the young talent, there is the possibility of attendance at the training sessions. In recent years, Gbofe, one of the most important ethnic groups of Côte d'Ivoire, has disappeared from various regions of the country, due to effects of the war, rural exodus, and industrialization. Although this group was reintroduced in some communities, it is still in danger of disappearing due to the conditions that exist today. The young are becoming less and less aware of this tradition, which has resulted in a significant reduction in the number of people with knowledge of the rituals, skills to make the instruments, as well as similar declines in the number of dancers, singers and musicians who know the techniques and art of the dance, songs, and music. | Dance • Music | Ivory Coast | ||||||||
| Geet-Gawai (edit) | Gawai is a pre-wedding ceremony that incorporates rituals, prayer, music, dance, and songs. Most commonly this ceremony is performed by Indians from the Bhojpuri-speaking community of Mauritius. "Geet Gawai", or "singing songs" in Bhojpuri arrived with the Indian indentured laborers who arrived from Bihar and Uttar Pradesh, both states in northern India. When they left for Mauritius, they took only the essentials. The Indian colonies on Mauritius had been occupied by about a half-million people for more than a century when they brought their cultures, their gods, and their diverse musical traditions with them. Due to the lack of instruments on the island, the singers often adapted the Indian musical tradition of Geet-Gawai to objects of Mauritius' daily life that could serve as instruments. The Geet-Gawai Band is a women-only ensemble that performs traditional Hindu wedding music. These occasions offer a unique opportunity to discover traditions inherited from their ancestors in northern India. It takes place at the bride's and groom's homes and involves the female family members and neighbors. The ceremony begins with five married women sorting the items (turmeric, rice, grass, and money) in a cloth, while other participants sing songs that honor Hindu gods and goddesses. Following the sanctifying of the site, the mother of the bride or groom, along with a drummer, honor the musical instruments to be played during the ceremony. These include the drum dholak (a two-headed drum). Then, uplifting songs are performed, and everyone joins in and dances. Geet-Gawai embodies community identity and is part of the collective memory of Indian society. Additionally, it provides participants with a sense of pride, enhances social integration, and breaks class and caste barriers. Small copper pots called "lota" were used in everyday life as accompaniments to the Geet-Gawai songs. The "chamcha" – a pair of spoons – is used as percussion. Thanks to the ingenuity of the musicians, some instruments from the tradition have remained like the "jhaal" (small copper cymbals) and the "dholak" (two-sided drum). The "thali", the metal plate on which people eat, can also be used as a musical instrument when the occasion arises. The practice and its associated skills are passed on informally and formally from older generations to younger ones. Observation and participation in the practice of Geet-Gawai are conducted by families, semi-formal teaching institutions, community centers, and academies. Bhojpuri folklore evolved in Mauritius and its adaptation is absolutely fascinating to anthropologists and ethnologists. Today, the practice is extended to public performances, and men are also involved. | Art • Dance • Entertainment and Recreation • Music • Verbal Arts and Literature | Mauritius | (11) Sustainable Cities and Communities | |||||||
| Gẹlẹdẹ (edit) | Performing the Gẹlẹdẹ is an important cultural tradition of the Yoruba-Nago community that stretches from Benin to Nigeria and Togo. For more than a century, the Yoruba-Nago community has been performing the Gẹlẹdẹ ceremony to honor the primordial mother Iyà Nlà and the role that women play in the social organization of Yoruba society. The social agenda of Gẹlẹdẹ is based on the Yoruba maxim Eso l'aye – meaning, the world is fragile. This maxim preaches that it is vital that we live our lives with great caution and with an emphasis on respect, consideration, diplomacy, and harmony. The origins of Gẹlẹdẹ are both historical and mythological. Among the Gẹlẹdẹ performances, Ketu is one of the oldest and most elaborate, among Ilobi and Old Oyo. According to its legend, there was a dying king whose twin sons both vied for his throne. One brother, after learning that he wouldn't get the throne, came up with a plan to kill his twin. The other brother came up with a counter-plan that involved creating a mask and a camouflage. The mythological origins are linked to Iya Nla. The annual celebration takes place once a year after the harvest, at important events, and during droughts and epidemics, and consists of dances, and chants, retracing the history of the Yoruba-Nago people. These are performed mostly at night, usually in a public square and the dancers prepare in a nearby house. It is the drummers and singers who appear first. There is an orchestra to accompany them, which is followed by masked dancers wearing splendid costumes. There is a lot of preparatory work involved in crafting the masks and costumes. The performances depict an oral heritage that uses epic and lyric verses supported by carved satirical masks and employs a good deal of irony and mockery. Animal figures are often used, such as serpents, who are symbolic of power, or birds, who are symbols of the “mothers”. In the community, the men and women are divided into groups, led by male and female heads. It is the only known masked society that is run by women. The Gẹlẹdẹ have adopted a more patriarchal society in modern times, but the oral heritage and dances are remnants of the former matriarchal order. Technology is causing a loss of traditional knowledge, and tourism has put a threat to Gẹlẹdẹ by portraying it as a folklore product. Nonetheless, the Gẹlẹdẹ community shows great awareness of the value of their cultural heritage through their preparations for the event and the number of participants they see growing every year. | Art • Craftsmanship and Practices • Ritual | Benin • Nigeria • Togo | (05) Gender Equality | |||||||
| Georgian Alphabet (edit) | Georgia's written language has developed three alphabets - Mkhedruli, Nuskhuri, and Mrgvlovani - all of which are still in use. Asomtavruli is the first version of the script attested, dating from the 5th century; the other scripts date from centuries after. Legends claim that the Georgian alphabet was invented by King Pharnavaz I of Kartli (ca. 800) and named in the medieval chronicle, Lives of the Kings of Kartli (ca. 800). The role Armenian clerics played in the creation of the Armenian alphabet is another source of contention among scholars. According to medieval Armenian sources, Mesrop Mashtots, generally acknowledged as the creator of the Armenian alphabet also invented the Georgian and Caucasian Albanian alphabets. There has also been debate over the major influences on the Georgian alphabet, as scholars have debated whether it was inspired by the Greek script, or by Semitic scripts such as Aramaic. In addition, some scholars have suggested that letters may have been inspired by pre-Christian Georgian cultural symbols and clan markers. Since Georgian became a written language, three primary alphabets emerged - Mrgvlovani, Nuskhuri, and Mkhedruli - all of which are still in use today. Mrgvlovani was the first alphabet derived from Nuskhuri, and then Mkhedruli followed. Several alphabets coexist in Georgia due to different cultural and social functions, reflecting diversity and identity of the state. Their continual use in a cultural sense also enables communities to feel a sense of continuity. Predominantly, the Georgian Apostolic Autocephalous Orthodox Church practices and teaches the alphabets Mrgvlovani and Nuskhuri. For example, the alphabets appear in texts for church worshipers, such as the psalms and hymns, and on inscriptions on display items in the church, such as the icons. Phonemic orthography is used in the Georgian language; some letters are pronounced differently depending on their position in the word. There are many sounds in English that are similar to those in Georgian, including all of the vowels and twenty consonants. Nonetheless, some of the consonants are pronounced differently, and eight are different from the sounds in English. In addition to the traditional craftspeople (goldsmiths, embroiderers, icon-painters, and sculptors) who create pieces for the church, some theological schools and tertiary institutions, linguists, scholars, and historians can also be considered practitioners and transmitters of the alphabets. Georgian education is based on the Mkhedruli alphabet. It is taught in primary and high school and is passed on formally between generations in the home. Mrgvlovani and Nuskhuri are also taught in Georgian schools but at a basic level. | ||||||||||
| Georgian Polyphonic Singing (edit) | Polyphonic singing has a highly valued place within Georgian culture. It is a secular tradition in a country whose language and culture was often oppressed by invaders. The tradition of polyphonic singing in Georgia has developed for several hundred years before it became popular in Western Europe. Polyphonic singing has always played an influential role in Georgian society; it was performed both on holidays and in everyday life. As a result of the geographical characteristics of Georgia, namely the isolation of one region from others by high mountains, each region developed a unique way of singing. In Georgia, three types of polyphony can be found: complex polyphony (common in Svaneti), polyphonic dialogue over a bass background (common in Eastern Georgia, such as the Kakheti region), and contrasted polyphony, which in western Georgia is predominantly sung with three partially improvised sung parts. The Chakrulo song is a part of the first category of songs, involving the use of metaphors, and is sung at ceremonies and festivals. It is distinguished by a yodel, krimanchuli, and “cockerel's crow”, both performed by a male falsetto singer. Many of the songs are related to the cult of grapevines, dating back to the eighth century. Traditional Georgian music included songs for all areas of everyday life. For example, they were used to accompany work in the fields, as well as for curing illnesses, and during the holidays (Holiday Carol, Alilo). Byzantine liturgical hymns included the Georgian polyphonic tradition so extensively that they became a significant expression. The Georgian folk songs developed independently of the Western European rules of harmony. Scales are based on the fifth rather than octaves, and intervals are not tuned to each other, giving the music a pleasantly rich, powerful, though somewhat unconventional sound. The tradition of polyphonic singing is an inseparable part of life in Georgia, where all are expected to join in, especially during large celebrations. Singing is mostly a community activity, and during these celebrations, everyone is expected to join in for the main melody, which usually consists of individual singers, but the bass can have dozens, even hundreds, of singers. Georgians celebrate all the complexity of life in their music. Sadly, the Soviet repression negatively affected Georgian traditional music and some of the old songs were forgotten forever. Since the collapse of the USSR, Georgian music has been collected and revived. While traditional Georgian music is threatened by pop music's increasing success, valuable efforts have taken place in promoting Georgian polyphonic singing. The State Academic Ensemble of Folk Song and Dance named after Rustavi has done valuable work in promoting Georgian traditional music. As one of the leading vocal ensembles in Georgia, Rustavi has performed at more than 4000 concerts and festivals throughout the world and recorded more than 600 folk songs. ==References== [https://ich.unesco.org/en/RL/georgian-polyphonic-singing-00008] [https://mygeotrip.com/georgian-polyphonic-singing] [https://en.dimashnews.com/georgian-traditional-polyphonic-music/] [https://www.europeanheritagedays.com/European-Heritage-Makers-Week/6379b/Georgian-Polyphony] | Music | Georgia | (03) Good Health and Well-being • (16) Peace • Justice and Strong Institutions | |||||||
| Giong Festival (edit) | The Giong Festival at Phu Dong and Soc temples is celebrated annually in the outlying districts of Hanoi, the capital of Vietnam. It takes place before the rice harvest each spring to honor the mythical hero, god, and saint Thanh Giong. He was credited with defending the nation against foreign enemies and is the patron god of harvest, national peace, and family prosperity. The festival is usually celebrated at Phu Dong village, Gia Lam District, Hanoi on the 4th day of the fourth lunar month every year. People prepare and perform for this festival from the first of the third lunar month to the fifth of the fourth lunar month. It begins with a ceremony to bless the weather on the sixth day of the fourth lunar month. A ceremonial feast continues from the 7th day until the 12th day of the month when villagers carry trays of vegetarian food to recreate the moment they contributed food to Saint Giong. As early as the 9th century, when King of Ly Thai To was the founder of the Ly Dynasty, the Saint Giong Festival was celebrated. It was officially declared a national holiday in the 11th century. Near Soc Son, 30 km north of Hanoi, there is a magnificent bronze statue of Thanh Giong riding his horse jumping up towards the sky. The statue offers a wonderful view of the surrounding countryside. During the festival at Phu Dong temple, the feats of Saint Giong’s life are symbolically re-enacted through a white horse entering battle and by orchestrating an elaborate flag dance to symbolize the actual battle. Young men receive extensive training to play the roles of Flag Master, Drum Master, Gong Master, Army Master, and Children's Master, and 28 girls aged 9 to 13 are selected to play the enemy generals. During the festival, the Flag Master's movements and his drum and gong sound communicate the progress of the battle. Paper butterflies released from the flag symbolize the dispersal of invaders, and the arrival of rain afterwards is seen as a blessing from the saint for an abundant harvest. At Soc temple, where saint Giong ascended to heaven, in the first lunar month, celebrations include bathing the statue of the saint as an offering and carrying bamboo flowers to the temple. St Giong has become a representative symbol for the Viet people in the process of Vietnam's national independence building over the last millennium. Today the Giong festival has an implicit ideology, moral code and philosophy; it presents the harmony of family and state and unites people toward a shared desire for peace by non-violent methods. | Art • Belief • Ritual | Vietnam | ||||||||
| Gjirokastër National Folklore Festival (edit) | |||||||||||
| Glasoechko (edit) | Male two-part singing in Dolni Polog, Macedonia, is a traditional form of vocal music, known locally as Glasoechko, which is characteristic of the region. The music is sung in a polyphonic manner with the droning voice moving contrapuntally in relation to the melodic leading voice, often accompanied by a shepherd's flute and a bagpipe. Despite its similarities to the music of neighboring Balkan countries, it is distinguished by its rhythm and sound. Glasoechko is performed at celebrations, assemblies, weddings, dinner parties, and other social gatherings by groups of two or three people. It's always spontaneous and anticipates the event's conclusion, bringing the attendees together. Rather than ritual songs, glasoechki songs are often epic or lyrical, often with mythological or love lyrics. Throughout East, Northeast, and Pirin Macedonia (modern-day Bulgaria), the songs are commonly sung for Voditsi, Lazaritsa, Gyurgyovden, Easter, harvesting, and wedding festivals. The men sing in a drone style, but occasionally it creates three-part singing. Often accompanied by a shepherd's flute and a bagpipe, the droning voice moves contrapuntally to the melodic leading voice. The mode of singing, in general, is the drone principle which is most typical of male singing, but it also can be found in female singing. By their very nature, epic or mythological lyrics point to their importance in preserving traditions, since through the melodies, the beliefs, history, and mythology of local populations are transmitted as well. Glasoechko is currently facing numerous very serious threats to its viability, although its practitioners are noted and talented singers who learned their skills from their predecessors. As a result of the ongoing migration of bearers outward following the civil war conflict in 2001, the number of people and groups practicing and transmitting it is decreasing rapidly. There are no records of Glasoechko songs, and in its present state, the tradition seems to be on the verge of extinction. Since younger generations have only limited exposure to Glasoechko performances and older generations consider there is insufficient interest to warrant continued transmission. Today, it has changed significantly in terms of the traditional two-part and multi-part singing. It no longer takes place within a real ambient, during holidays and rituals. But it continues to be practiced as part of traditional Macedonian cultural heritage, both locally and regionally, and nationally. Having discovered the reason for the disappearance of some types of two- and multipart singing, studying this traditional art form has become part of cultural policy in Macedonia, in an attempt to strengthen the country's national cultural identity. | Art • Music • Verbal Arts and Literature | Republic of Macedonia | (11) Sustainable Cities and Communities | |||||||
| Gnawa (edit) | Gnawa music is Moroccan and West African Islamic music that combines ritual poetry with traditional music and dancing. Dedicated to prayer and healing it is performed at lilas, a communal night of celebration by the Gnawa master and a group of musicians and dancers. In the 11th century, people from the Gnawa ethnic group, who originated from sub-Saharan Africa, were brought to Morocco by slave traders. The enslaved Gnawa people, from Mali, Senegal, Chad, and Nigeria, were used as soldiers in Morocco. Over the centuries, the people were gradually freed and were able to form their own communities within Morocco, where they developed their own traditions. A mystic, spiritual version of Islam is practiced by the Gnawa people, incorporating Islam with sub-Saharan West African traditions. These people believe that direct contact with Allah cannot be achieved and must instead be achieved through spirits. Their traditions include the use of sacred and ritualistic music. This music is used in ceremonies to facilitate peaceful contact with the spiritual realm as well as to heal participants. The music of Gnawa is also influenced by these people's history of slavery and liberation, which they retell through their music. The Gnawa culture uses a trance ceremony called a lila to cure spiritual and physical sickness. It is performed in a private house, and it begins after sunset, lasting all night. It is made up of three parts: al-'ada, or warm-up, kuyu, or Awlad Bambara, where the prophet Mohammed is invoked, and ftuh ar-rahba, where the seven spirits are represented. There are seven colored mleks, which are invoked in a specific order. Each mlek is associated with a particular color: white, light blue, dark blue, red, green, black, and yellow. The musicians move seamlessly between each mlek, so sections of the music are difficult to distinguish. Usually, each section is comprised of a series of verses and choruses. Each section also contains several periods of instrumental dance. During those periods, the tempo increases, and the qraqab gets louder. Colorful, embroidered costumes are worn in the city, while white attire with accessories is characteristic of rural practices. Although the Gnawa were originally marginalized in Moroccan society, Gnawa music has become increasingly popular over the past several decades. Today, Gnawa artists have often been regarded as powerful symbols of Moroccan culture. Gnawa shows have become more valued by Moroccan elites in their homes. It has not only evolved from a spiritual practice to secular art but also has found its place within popular Moroccan culture. It is a fascinating combination of poetry, music, and dancing, and it is constantly growing, with countless fraternal groups, master musicians, and associations. These associations have held local, regional, national, and even international festivals. This allows youth to become familiar with both the lyrics and musical instruments as well as practices and rituals associated with Gnawa culture. | Music • Ritual | Morocco | (03) Good Health and Well-being | |||||||
| Grand Festival of Tarija (edit) | Taking place in the city of Tarija in Southeast Bolivia, the Great Festival of Tarija is a spectacle of colorful costumes, religious traditions, and mass participation. The festival, which begins on August 16 and ends on the second Tuesday of September, is more than a month long. During the colonial period when people prayed to saints to cure epidemics, and diseases and to protect their loved ones, a Frenchman named San Roque and descendant of the Christian Kings of France, San Roque was born to a wealthy city governor in 1295. After the death of his parents, San Roque distributed the wealth he inherited to the poor. He then traveled to Italy with a pilgrim's habit and staff to help sick people. An epidemic of leprosy ravaged the city of Tarija. To calm the anguish of the relentless scourge, those interested in the cures of the French requested the help of St. Roque. It is believed that the outbreak ended shortly thereafter so that to this day pilgrims renew their pledges to St. Roque and make their pilgrimage. At this festival, processions visit the cathedral, temples, and churches in Tarija and the pilgrims show their devotion through dances, music, and prayers. The believers dress in colorful costumes as they parade the saint's image around the city. Their costumes represent the victims of leprosy that had infected the city many years ago. The locals decorate temples and streets on which the procession passes. They also organize sports and cultural events. Thousands of people will be gathered on the final night to dance and sing at the foot of the Iglesia San Roque Tarija. The Tarija festival is characterized by regional crafts, traditional dishes, and an absence of alcohol. The days of celebration of this cultural tradition are important since they signal the end of the winter dry season and the beginning of agricultural production. The festival is founded on religion and faith, which is preserved and transmitted within families and within the Catholic community. This tradition has been maintained for generations. As a result, Tarija is recognized for all its culture, for all the folklore, and for the religiosity that accompanies this great display of faith. The festival is of great significance to the people of Tarija, and is a major celebration. | Art • Belief • Dance • Entertainment and Recreation • Music • Ritual | Bolivia | (02) Zero Hunger • (03) Good Health and Well-being • (04) Quality Education • (12) Responsible Consumption and Production | |||||||
| Gule Wamkulu (edit) | Gule Wamkulu is a secret cult practiced by the Chewa in Malawi, Zambia, and Mozambique. The dance was performed by the Nyau Brotherhood, a secret society of initiated men. It was established within the Chewa's traditional matrilineal society, where married men played a marginal role. The Nyau provided a means by which to create solidarity among men from various villages. Nyau members are responsible for initiating young men into adulthood. They are also responsible for performing the Gule Wamkulu at the end of the initiation ceremony to celebrate their integration into adult society. Nyau dancers typically perform Gule Wamkulu during the summer harvest season, but the dance is also presented at weddings, funerals, and when a chief is installed or dies. These occasions are marked by the Nyau dancers wearing costumes and masks made from wood or straw. They portray wild animals, spirits of the dead, slave traders, as well as more recent figures such as the Honda and the helicopter. Each of these dancers represents a specific, often evil, character. These characters are taught moral and social values, such as how misbehavior can teach people. Before the Gule Wamkulu dance, the Nyau dancers perform rituals related to their secret brotherhood. The Nyau incorporates codes, riddles, metaphors, myths, and signs associated with the Nyau. When a Nyau mask threatens women or children, they run inside their homes. Masks are only worn by male members of society, as they represent male knowledge. The masked dancers Nyau are considered to be the spirits of the dead during the exhibition and rituals. Since spirits can act with impunity during traditional ceremonies, there have been attacks and deaths during the Nyau dance in Malawi in the past. Nyau dance involves intricate footwork, jumps, acrobatics, mimed fights, and the casting of dust into the air. Dancers are prompted by certain rhythms and drum calls based on the type of mask or character they are portraying. There is more to the Gule Wamkulu rite than costume and frightening masks. The dance is used to convey a message expressing the unity of the human, animal, and spiritual world. The Gule Wamkulu depicts figurative discourses that address questions about the village and the community. These discourses address issues such as HIV and AIDS or sex that are difficult to talk about. Additionally, the Nyau also can criticize the leaders and the government. They do so through humor and satire, which they employ to make political statements. They have this ability because they are treated as spirits, rather than as humans. It is believed that Gule Wamkulu has a long history dating back to the sixteenth century Chewa Empire. Despite attempts to ban this practice by Christian missionaries, it managed to survive under British colonial rule by adopting some aspects of Christianity. Consequently, Chewa men tend to be members of Christian churches and Nyau society. However, Gule Wamkulu performances are gradually losing their original function and meaning as they become entertainment for tourists and political purposes. ==References== [https://ich.unesco.org/en/RL/gule-wamkulu-00142] [https://en.wikipedia.org/wiki/Nyau] [https://waterstep.org/elementor-7515/#:~:text=Gule%20Wamkulu%2C%20meaning%20%E2%80%9CThe%20Great,a%20mask%20and%20start%20dancing] [https://cycloscope.net/gule-wamkulu-malawi-dance-traditions#The_great_dance_Gule_Wamkulo] | Belief • Dance • Entertainment and Recreation • Ritual | Malawi • Mozambique • Zambia | (04) Quality Education • (05) Gender Equality • (10) Reduced Inequalities • (17) Partnerships for the Goals | |||||||
| Guqin (edit) | Seven-stringed musical instrument, the Guqin represents China's foremost solo musical instrument tradition. It is described in early literary sources, and it is corroborated by archaeological finds. Legend has it that legendary figures of Chinese pre-history such as Fuxi, Shennong, and Huang Di, the "Yellow Emperor" were involved in its creation. Nearly all Qin books and tablature collections published before the twentieth-century mention that this was the actual origins of the Qin, although this has been viewed as mythology. The instrument has appeared in Chinese writings and has been found in tombs from nearly 3,000 years ago. The origins of the Qin have been the subject of debate for many decades. Traditionally, the instrument was referred to simply as the Qin, but this term was also applied to many other musical instruments by the twentieth century. In ancient China, the Guqin was an elite art form, primarily performed by noblemen and scholars in intimate settings. The Guqin was a part of the four arts that Chinese scholars were expected to master, along with calligraphy, painting, and an ancient form of chess. According to tradition, twenty years of training were required to master the Guqin. The instrument has seven strings and thirteen marked pitch positions. Approximately ten different ways can be used to attach the strings, giving players a range of four octaves. The three basic techniques are known as san (open string), a (stopped string), and fan (harmonics). San involves the picking of open strings individually or in groups, which produce strong and clear sounds for significant notes. To play fan, the left-hand touch the strings in positions determined by inlaid markers to create the harmonics. Similarly, the right hand plucks, creating a light floating overtone. The an is played with both hands, while a left-hand finger presses firmly on the string and may slide between various notes or produce a variety of ornaments and vibratos. Currently, less than one thousand Guqin players are well-trained. There are fewer than fifty living masters of the instrument, and the original repertory of thousands of compositions has drastically shrunk to a mere hundred pieces performed regularly today. Guqin music has been referred to as the essence of aestheticism and philosophy in China. In 2003, the Guqin was inscribed within the UNESCO Oral and Intangible Heritage of Humanity. Guqin playing has been revived after years of decay and oblivion. More Guqin associations are being set up, and the number of people learning to play the instrument is increasing. With 200,000 people learning the instrument since 2003, the number is still growing. ==References== [https://ich.unesco.org/en/RL/guqin-and-its-music-00061] [https://en.wikipedia.org/wiki/Guqin] [https://news.cgtn.com/news/34556a4e35637a6333566d54/share_p.html] | Music | China | (04) Quality Education • (05) Gender Equality • (08) Decent Work and Economic Growth • (16) Peace • Justice and Strong Institutions | |||||||
| Gwoka (edit) | Gwoka music combines responsorial singing with Guadeloupean Creole rhythms played on the Ka drums. It emphasizes qualities of improvisation and is found among all ethnic and religious groups of Guadeloupean society. In its traditional form, the dance combines these three forms of expression, focusing on individual qualities of improvisation. Participants and the public form a circle where dancers and soloists perform in turn, facing the drums. In response to the soloist, the audience claps and joins in. Gwo ka is a French creole term used to describe a big drum, alongside Gwotanbou, simply Ka or Banboula (archaic), which generally refers to a group of hand drums and the music they produce. The term may also be applied to the small, flat-bottomed tambourine (tanbou d'bas) used in kadri music or even to drums (tanbou) in general. In Guadeloupe, Gwoka can be found in all ethnic and religious groups. During the transatlantic slave trade in the 17th century, the Gwo Ka musical practice emerged. It was characterized by a creolization process, during which African slaves of Guadeloupe gathered to play drums, sing, and dance. The use of any kind of instrument was forbidden by the Code Noir at that time, which led slaves to imitate drums with a vocal technique called bouladjèl. In those days, Gwoka practice was closely associated with agriculture, specifically sugar cane, coffee, and banana farming. At open-air Gwoka evenings, more than a thousand people practice Gwoka, where the dance circle functions as a place where individual talents can be developed. Gwoka is passed down both formally and informally through families and groups of friends as well as through workshops and schools of traditional dance and music. As one of the most identifiable elements of Guadeloupean society, gwoka can be discovered in new forms such as music, choreography, and singing. It is present at high points in daily life, festive, cultural, and secular events, as well as during social and political protests. Gwoka strengthens identity, as well as gives a sense of community and pride, conveying values of conviviality, resistance, and dignity. Despite the presence of léwôz experiences, a modern and popular version of gwo ka, known as gwo ka moderne, exists independently among rural Guadeloupans. Today, playing the drums is no longer synonymous with dance, but historically it was inseparable from léwôz. Léwôz was held fortnightly on Saturdays near the bigger plantations (payday) and each Saturday of the carnival season in areas of greater land parceling. Gwoka music was played throughout the year in various cultural manifestations such as léwôz, kout’tanbou, véyé, and religious events. | ||||||||||
| Haenyeo (edit) | A Haenyeo is a Korean female diver, who lives off harvesting various molluscs, seaweed, and other creatures from the ocean. On Jeju Island, there is a community of women, many of them in their eighties, who dive 10 meters under the sea without the use of oxygen masks to gather shellfish, such as abalone or sea urchins. Based on their knowledge of the ocean and marine life, female divers harvest for up to seven hours a day, 90 days a year. They hold their breath for just one minute on each dive and make a distinct sound each time they surface. A haenyeo (also spelt haenyo) is representative of the semi-matriarchal family structure of Jeju. A haenyeo also displays a strong sense of independence, iron will, and determination. Since the 4th century AD, diving has been a tradition in Jeju. It was a male-dominated profession with women joining their husbands while diving. The first mention of female divers in literature comes from a 17th-century monograph about Jeju geography, referring to them as jamnyeo (literally, ‘diving women’). This shift may be explained by a variety of factors. For instance, many men died at sea during wartime or during deep-sea fishing accidents. An 18th-century document describes a tax on dried abalone being imposed on ordinary people. This forced many women to dive in cold water. Divers are classified into three groups based on their experience: haguns, jungguns, and sangguns, with the sanggun offering guidance to the other groups. A special prayer is offered before diving to the goddess of the sea, Jamsugut, to ask for safety and abundant catch. Families, schools, and fishing cooperatives, together with the area's fishing rights, Haenyeo associations, the Haenyeo Museum, and the Haenyeo School transfer knowledge to younger generations. A symbol of the island's character and spirit, Haenyeo has also contributed to advancing women in the community and promoting environmental sustainability with its use of eco-friendly methods and participation in fisheries management. Currently, haenyeo is regarded as a treasure of Jeju. The Korean government honors their contributions to the island's culture by subsidizing their gear and granting them exclusive sales rights to fresh seafood. | Craftsmanship and Practices • Food | South Korea | Jeju-teukbyeoljachido | (01) No Poverty • (03) Good Health and Well-being • (05) Gender Equality • (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities • (13) Climate Action | ||||||
| Hajji Firuz (edit) | Hajji Firuz (Persian: حاجی فیروز) or Khajje Piruz (Persian: خواجه پیروز) is a fictional character in Iranian folklore who appears in the streets by the beginning of Nowruz. His face is covered in soot, and he is clad in bright red clothes and a felt hat. He dances through the streets while singing and playing a tambourine. | Festival • Music • Dance • Rituals | Iran | ||||||||
| Hatajo De Negritos And The Hatajo De Pallitas (edit) | Hatajo de Negritos and ‘Hatajo de Pallitas are complementary expressions emphasized by music and singing, both part of the Christmas celebrations in the central department of Ica, Peru. A cultural manifestation of the people who live along the coast south of Lima in Peru (Canete, Chincha, Ica, and Nazca), both expressions combine the values of the pre-Hispanic Andes with the rhythms and traditions of African descendants who arrived in the Americas during colonial periods. The complexity of these expressions has allowed them to reflect the mestizo and afro-descendant identities of the region. These expressions are biblical representations of the story of the shepherds and the arrival of the wise men to the newborn baby Jesus. Most of the 'negritos' dance is performed by men and accompanied by the sound of a long fiddle, along with singing, shoe-tapping dance, and bells. The 'pallitas' dance is performed by women with an instrument such as a guitar or fiddle, accompanied by a 'zapateo' and singing. Both dances are viewed as symbols of religious devotion and spiritual contemplation and are performed by groups of fifty or more in town squares and churches as well as in homes by families beginning on December 24 and ending on January 6. Peru's diverse Christmas celebrations illustrate the country's cultural richness, as evidenced by the variety of festivities held throughout its Andean and Amazonian communities, some of which are designated national cultural heritage sites. Currently, it is a popular dance form in the southern regions of Lima, performed not only by African-Americans, but also by mestizos, cholos, and zambos. In this part of Peru, there is, however, a significant presence of African descent. This dance has a special meaning for the residents of Chincha. The dance is a way to represent the Afro-descendant ancestors, as well as reenacting the religious scene of the shepherds and Magi visiting the Child God. For the dancers, this devotion is an incentive to dance with more desire, even overcoming body exhaustion. Young children are taught both expressions from early childhood, with elders encouraging them to learn a variety of Christmas carols, rhythms, and dance sequences when performing for the community. Nowadays, the dance is replicated in Huaral and certain districts of Lima. Dancers wear colorful costumes, sequin-adorned sashes, turbans, and hats. | ||||||||||
| Hidrellez Festival (edit) | Hidirllez Festival celebrates the day that the Prophets Hizir (Khidr) and Ilyas (Elijah) met on Earth. It is celebrated throughout the Turkic world, including in Bulgaria, Georgia, and the Balkans, and throughout ancient Mesopotamia, Anatolia, Persia, and other Mediterranean societies during the change of seasons. Currently, the ceremonies for Hidirellez are organized, especially in villages or towns rather than metropolises. The preparations for the celebration include the cleaning of the house and the clothing, dresses, finery, food-drink, and shopping for the feast. They also include the cleaning of the indoor and outdoor places, especially the gardens, because Hizir is expected to visit the houses and gardens on that day. The Spring Celebration ‘Hidrellez’ takes place every year on May 6, during the awakening of nature and is recognized as Spring Day. The term ‘Hidrellez’ is a compound noun derived from ‘Hidir’ and ‘Ilyas’, which means protectors of the earth and water, and helpers of individuals, families, and communities who need them. Spring is a time of hope, a fresh start, and hope for the future. In the past, it was a time when cold winter earth gave way to healthy grasses and revived fields. A time when the god Hizir is honored as a healer and the god Ilyas is regarded as a bringer of water. Ceremonies included fire, feasting, and dancing to honor these gods. The element has a deep-rooted cultural meaning, and it gives the local community a sense of belonging and a sense of cultural identity, and an opportunity to strengthen relations. This element belongs to all participants, including families, children, youth, adults, dancers, and singers. Various ceremonies and rituals are performed to ensure the wellness, fertility, and prosperity of the family and the community. These ceremonies and rituals are connected with nature. Throughout the year, the communities participating in the Spring Celebration ensure the element's viability by participating in it annually. The local, regional, and national-level organization of related events ensure that a broad range of individuals, groups, and communities participate in it. It is acknowledged as an essential element of the cultural identity of the local communities, and it is created and transmitted by oral communication, observation, participation, and performance within the family and among community members. This fascinating and exciting festival brings together people from all walks of life as it ushers in a new season and celebrates the challenge of new life. | ||||||||||
| Holy Forty Martyrs (edit) | Also known as Sebaste Martyrs are Roman soldiers who became martyrs for the Christian faith in 320. Tradition describes the martyrdom of the Forty Martyrs of Sebaste in traditional martyrologies. Located on Krkardash in Bitola, in the area known as Smilevski Bair, this church was constructed 150 years ago on the former site of a monastery named St. Athanasius. During the Feast of the Holy Forty Martyrs, on 22 March, all participants gather on the streets and in the squares of Stip to pay tribute to the fourth-century martyrs of Sebaste. During that day of spring, participants hike up the Isar hill and stop at the church to pay tribute to the Holy Forty Martyrs. In Cappadocia, at Caesarea, a church was built. It was in this church that Basil publicly delivered his sermon. Gregory of Nyssa eulogized the Forty Martyrs. His speeches about them were preserved in the church dedicated to them, and upon his parents' death, he buried them beside the relics of the confessors. Ephrem the Syrian also praised the Forty Martyrs. In the handwritten diary of eyewitness Sozomen, Caesarius describes how, through the influence of Empress Pulcheria, the relics were found in Constantinople, in the shrine dedicated to Saint Thyrsus built by Caesarius. Their earliest account is a homily delivered by Bishop Basil of Caesarea in a sermon on their feast day. The Feast of the Forty Martyrs is thus older than Basil himself, who was only fifty or sixty years old after their deaths when he eulogized them. They were killed near the town of Sebaste in Lesser Armenia, victims of the persecutions of Licinius, who after 316 persecuted the Christians of the East. In traditional ceremonies, the climb to the top of the hill involves greeting forty acquaintances, gathering forty pebbles, and gathering flowers or branches from the almond trees growing nearby. When the climb reaches the top, the participants make their wishes and throw thirty-nine pebbles into the Bregalnica River below. They then throw the remaining pebbles into the river. Throughout the day, musical groups play on the hill. Families hand down the tradition by hiking with their children, or older relatives and friends passing it down to younger generations. However, this event in the spring promotes and encourages teamwork and solidarity among many different age groups, social classes, and backgrounds through selfless cooperation from many people across all walks of life. The feast also contributes to the sense of belonging to the city and its traditions as it brings together the many religious and ethnic groups that live in Stip. ===References=== (https://ich.unesco.org/en/RL/feast-of-the-holy-forty-martyrs-in-tip-00734) (https://www.macedoniancuisine.com/2017/03/holy-40-martyrs-on-krkardash-bitola.html (https://en.wikipedia.org/wiki/Forty_Martyrs_of_Sebaste) | Belief • Ritual | Republic of Macedonia | Bitola | (11) Sustainable Cities and Communities | ||||||
| Holy week (edit) | In the historic town of Mendrisio, the Holy Week procession takes place on the evenings of Maundy Thursday and Good Friday, drawing over ten thousand spectators. To light up the night, translucent paintings developed in the early 18th century are mounted on wooden frames and illuminated from within, and made using a specific painting technique. Depicting biblical scenes and symbols there are approximately 260 transparencies. Around 270 amateur actors take part in the Thursday procession, which depicts the Passion of Christ and the Stations of the Cross. Drums and trumpets set the pace and create a contemplative atmosphere in the streets. The Good Friday procession is more austere and involves hundreds of children and adults carrying over 500 objects, including 320 lanterns that symbolize the passion of Christ. In addition to the choreography and scenography of the processions, the transparency and translucencies also promote local craftsmanship. Hundreds of men and women volunteer to organize the processions, and many local citizens attend the processions to support them. The Fondazione Processioni Storiche di Mendrisio participates actively in the preparation and organization of the Processions and ensures the transmission of related knowledge among its members and beyond. More than 600 members of the various Brotherhoods and church associations participate in the traditional Good Friday procession, which is more formal and imbued with more spiritual meaning. They march through the streets carrying statues of the dead Christ and the grieving Virgin Mary before which onlookers bow. Three companies of musicians play solemn funeral marches, and their presence is led by herald drummers on horseback. The Holy Week processions begin with a ceremony celebrating the Seven Sorrows of Mary. They are preceded by the Settenario, a church ceremony dedicated to the Seven Sorrows of Mary. Enterro, or the procession of Holy Friday, is probably older than Maundy Thursday, even though its origin is not clear. There is no doubt that it was founded by the Order of the Servites of Mary. A ceremonial trumpet is used by the heralds to announce the beginning of the ceremony. The Virgin Mary, Mary Magdalene, Saint Veronica, and the condemned thieves are shown following Christ down the path of the Cross, which here leads through Mendrisio. A legend tells the story of the role of Jesus being played by a sinner, who was given the role because he converted to the faith. Since his name was not released, the identity of the protagonist remains a secret until the very end of the Passion Play. The Foundation Processioni Storiche di Mendrisio is committed to preparing and organizing Processions with wide community participation while ensuring the transmission of related knowledge among the members and others. ===References=== (https://ich.unesco.org/en/RL/holy-week-processions-in-mendrisio-01460) (https://www.myswitzerland.com/en-id/experiences/events/traditional-events-winter-fruehling/easter-processions-in-mendrisio-ti/) (https://www.lebendige-traditionen.ch/tradition/en/home/traditions/holy-week-processions-in-mendrisio.html) (https://www.ticino.ch/en/commons/details/Processions-of-the-Holy-Week-in-Mendrisio/37413.html) | Art • Craftsmanship and Practices • Ritual | Switzerland | ||||||||
| Horehronie Multi-part Singing (edit) | Multi-part singing is a vivid traditional folk culture of the villages of the Horehronie region, Slovakia, characterized by a variable solo melody of pre-singing and static choir responses, either by men or women. The singing culminates in intertwined parallel melodies with rich variations. The singing consists of two or three parts; each section varies the initial melody. The form of vocalizations has been significantly influenced by natural conditions such as singing in the hills or meadows while using throaty expressions, which resound far. With its tonality rhythm section, as well as its characteristic tendency for improvisation, this kind of singing tradition is linked to people's assertiveness and vitality through the element of the shepherd's way of life. A typical Horehronie song has a variable solo melody, followed by more static choir answers, performed by men or women. The singing culminates in interlaced parallel melodies with rich variations, which consist of two or three sections. The song genres are associated with activities such as agriculture, the family cycle, and calendric events, and new songs are compiled in response to significant social events. In Slovakia, a folklore ensemble's repertoire has been part of the programs of traditional folklore ensembles. This singing is a kind of an example of typical polyphonic singing techniques of folk music expression. Folk multipart singing is an art that is practiced by the inhabitants of these villages, as well as the broader public. It is seen as a characteristic local phenomenon, providing an opportunity for relaxing and socializing, contributing to overall social cohesion, and giving people pride in their local traditions. It is endorsed by the bearers by practicing it and using it in regular cross-generational exchanges, and the element's viability is manifested through spontaneous singing during celebrations and ceremonies, church performances, and local festivals. These elements are originally part of the interpretation technique handed down from generation to generation mainly between family circles, as well as through informal education and the efforts of local folklore groups, local governments, and individual singers. Among the most historic and most popular folklore festivals in Slovakia, are the Horehronie Days of Singing and Dancing in Helpa. The festival's aim is to search for and preserve the traditional folk culture of the regions of Slovakia, particularly in Horehronie and Pohronie. At the festival, there can also be seen a diversity of traditional folk clothing in the form of folk costumes. The events that once took place there is still part of the local culture and society, despite the retreat. | Art • Entertainment and Recreation • Music | Slovakia | ||||||||
| Horezu Ceramics (edit) | Horezu ceramics are unique traditional handmade pottery. A typical type of Romanian pottery, Horezu ceramics are made by hand around the town of Horezu in northern Oltenia (Vâlcea County), close to the famous Horezu Monastery, reflecting the derivation of knowledge and skills over many generations. This town is famous for the creativity of its people and the craftsmanship that goes into its pottery. They are known for creating and presenting many beautiful pieces at annual fairs. A small town in Romania, Horezu carries the legacy of its ancestors into the present day. Horezu Ceramic refers to a type of art that produces hand-made and hand-painted traditional Romanian pottery, which is one of the most representative arts associated with Romanian folklore. Crafted in Vâlcea County, Romania, they are the products of generations of knowledge and craftsmanship. Male and female artisans usually divide the fabrication processes. Men are responsible for selecting and extracting the earth, which is then washed, cut, watered, kneaded, trampled, and mixed. From this earth body, the potters of Horezu produce red pottery. Each object is then shaped using a specialized finger technique that requires concentration, strength, and agility. Using specific techniques and tools, these women decorate the ceramics using traditional motifs. The women are the only ones in each village that follow this pattern. Their skill in combining decoration and color is what makes these ceramics unique. The colors are vivid shades of dark brown, red, green, blue, and the ‘Horezu ivory’. The ceramics are decorated in a unique style that features many different elements, such as stars, snakes, trees, the double helix, the undulating line, circular strings of folk themes, the tree leaf, the sun, and trees. Among the traditional tools used by the Horezu potters are a mixer for cleaning the earth, a pottery wheel, a comb, hollowed-out bull's horns, and fine wire-tipped sticks for decoration. A wood-burning stove is used for firing. The craft is taught in workshops from master to apprentice, and at fairs and exhibitions. The element gives the community a sense of identity, while also serving a social function every day. Ancient crafts are preserved in the ancestral hearth of Horezu, now called Olari Street, where artisans shape clay into ceramics using the same painstaking process as their ancestors. Currently, this tradition of craftsmanship is still passed on from generation to generation through events such as workshops, exhibitions, and festivals of arts and crafts. ===References=== (https://ich.unesco.org/en/RL/craftsmanship-of-horezu-ceramics-00610) (https://en.wikipedia.org/wiki/Horezu_ceramics) (https://www.romania-insider.com/unesco-places-romanias-horezu-ceramics-on-the-list-of-intangible-cultural-heritage) (https://www.imperialtransilvania.com/2021/11/18/read-more/argomenti/places-of-interest-1/articolo/horezu-ceramics-the-art-most-representative-of-romanian-tradition.html) | Craftsmanship and Practices | Romania | Vâlcea | (08) Decent Work and Economic Growth • (11) Sustainable Cities and Communities • (12) Responsible Consumption and Production | ||||||
| Horse and Camel Ardhah (edit) | The horse and camel Ardhah is a spectacular event that is performed during religious and national celebrations in Oman. The word 'Ardhah' means "to perform" in Arabic and this unique tradition is practised in many parts of the country. On the day of Al Ardhah, people gather around the racecourse to witness horse and camel rides, demonstrating a display of horsemanship that requires the rider to stand on his galloping horse or camel. Al Ardhah begins with an energetic display of traditional acts, which include riding camels lying down, riding on their backs, and joining hands with another rider while travelling at great speed. This variety of impressive displays is presented at the horse and camel Ardhah by both male and female jockeys dressed in festive dress and embellished with silver adornments. In addition to the demonstrations, traditional arts such as poetry readings are performed. Meanwhile, the audience is served with complimentary Omani coffee, soft drinks, and local fruits such as dates as part of traditional hospitality during the event. The participant must arrive at the venue at least one night before the event starts to transfer their camels by truck and 4WD and set up camp nearby. A dinner feast awaits the participants as the organizers prepare Omani food. In conjunction with the dinner, which takes place after the show, a poetic debate is conducted among the attendees. Among the topics addressed are patriotism and loyalty. It is worth noting that horse and camel Ardhah can be experienced across the Sultanate of Oman. In Omani society, Al Ardhah is associated with a wide range of social occasions, such as religious and national celebrations. Throughout rural and urban areas, this practice is part of the culture of the society and shows a great deal of skill as well as devotion to animals. Al Ardhah brings together both men and women and is a chance for traditional bands and craftspeople to show off their talents. In the Omani community, Al Ardhah is organized on various social occasions, involving young people. Organizations that provide services to the government are also important to the transfer of related skills. Horse groups at the university, for example, teach students about equestrian skills and how to perform Al Ardhah. Community groups continually recreate this intangible cultural heritage, which they pass down from generation to generation. This enables them to develop an identity and continuity, helping to promote respect for cultural diversity and human creativity. | Craftsmanship and Practices | Oman | ||||||||
| Horsebreedings Spring Festival (edit) | The Kazakh horse-breeding spring festival marks the end of the old and the beginning of the new yearly breeding cycle. The traditional festival takes place in Terisakkan Village in the Ulytau District of Karaganda Oblast. Festivities draw their inspiration from traditional knowledge about nature and from the ancient relationship between man and horse, as well as modern adaptations of skills passed down from nomadic ancestors. During the year-long prelude to the ritual, the following components are involved: ‘Biye baylau’ (literally as ‘tethering mares’), the ancient ‘first milking’ rite that includes separating the mares from the herds, milking the mares, and celebrating through song and dance. Ayghyr kosu (meaning ‘stallion's marriage'), is a recent tradition for adjoining stallions; and kalymyz muryndyk (metaphorically, the initiation of koumiss), is the opening ceremony for koumiss harvest and sharing. It takes around three weeks for the rites to be completed, including the koumiss sharing ceremonies at each household. The rites mark the beginning of a new reproductive cycle and demonstrate traditional Kazakh hospitality. In order to produce an abundance of milk and ensure the fertility of herds, people observe the rites and related rules together. The event strengthens their friendship, mutual understanding and support, unity and social cohesion, as well as the sense of belonging to a large community of their fellow nationals, not just relatives, friends, and neighbors. It remains the only direct way for knowledge and experience to be transmitted and shared during joint activities of the element's preparation and performance. Through the supervision of adults, children learn many things from very early on. It is important for horse-holding families to pass their skills and knowledge on to the children of their neighboring families. Since it is passed down from generation to generation, the element remains sustainable but not 'frozen'. Although its rituals include remnants of ancient cults and beliefs passed down from nomadic ancestors, they are well adapted to modern times and conditions. Even though the past generations of its bearers went through a forced transition from nomadic lifestyles to settled ones in the 20th century, and their pastures were diminished in favor of agriculture, preventing seasonal migrations, this culture survived. Due to the changing conditions, traditional forms of horse breeding have been adjusted to suit the new conditions by making some modifications to their technologies, which had an impact on their cultural traditions as well. | ||||||||||
| Hudhud Chants (edit) | Hudhud is a traditional narrative song from the Ifugao region of the northern Philippine island of Luzon. There are terraced rice fields in the mountains of Ifugao, and hudhud is a part of traditional burial rituals in the region. Originally written in the seventh century, the hudhud has over 200 stories containing 40 episodes. A full recitation of the hudhud takes a few days to finish. A study by a scholar of the hudhud indicates that there might have been chanting of the alim and the hudhud prior to the construction of the rice terraces. The Ifugao state that both have been chanted since time immemorial, without any words to specify whether this is in the hundreds or thousands of years. Generally, Hudhud is chanted only four times: when rice is harvested, weeded, at a funeral wake, or when bones are washed. Hudhud ni Aliguyon falls under the category of Hudhud di Page or Hudhud di Ani, which means Hudhud for Harvesting in the Fields. The chant is usually sung by a female group, led by a soloist, who may have volunteered to lead. A chorus of 10 to 12 women follow the soloist. The chorus need not memorize the entire chant. After declaring the chant, the lead singer (the munhaw-e) simply lists the cue words, which include names of characters, villages, topography, and family relationships. Values are the beliefs, ideas, and ideals that matter to people, motivating their behavior and attitudes. They are the basis of choices, decisions, and reactions. The DECS Values Education Framework pronounced that ‘Values help individuals realize themselves as human beings and take responsibility for their own growth as well as the growth of their fellow human beings and society. As reflected in their songs, narratives, chants, and folktales, the Ifugao literature reflects the values of the Ifugao people. Taking a look at the core values of the Ifugaos, you are likely to find that they are socially responsible in many aspects. This social responsibility connotes love, respect, fidelity, responsible parenthood, concern for others, as well as social justice. The main theme of the Hudhud stories is exemplifying the romantic ideals of love, marriage, and wealth. In 2006, the Hudhud Perpetual Award was launched. It is a celebration of the tradition of chanting the stories during harvests, wakes, and bone washing (bogwa) in the participating municipalities. The award's purpose is to encourage the participation of the community and to ensure a continuous practice of the hudhud in its social-cultural context. ===References=== (https://en.wikipedia.org/wiki/Hudhud_ni_Aliguyon) (https://simple.wikipedia.org/wiki/Hudhud) | Philippines | Central Luzon | ||||||||
| Hung Kings Worshipping (edit) | The Ancestral festival of the Hùng Kings is celebrated at the beginning of the third lunar month at the Hùng temple at Nghia Linh Mountain in Phu Tho province, Vietnam to celebrate their ancestors and pray for favorable weather, abundant harvests, and good health. The Hung kings ruled over Vietnam for over 18 generations. The King's descendants are believed to have expanded their culture while the Hong (Red) River civilization and the pre-Dong Son cultures flourished on this site. Vietnamese celebrate to mark the anniversary of their ancestor's death, the first Hung King, founder of the Vietnamese nation. Millions of people come to the annual festival and dress in magnificent costumes and compete to bring the most beautiful palanquins and shrines to the main temple site in order to participate in the key rite in which drums and gongs are carried to the main temple site. Rice-based delicacies, such as square cakes and glutinous cakes, are offered, and there are verbal and folk art performances, bronze drum beating, Xoan singing, and prayers and petitions. Secondary worship of Hung Kings takes place throughout the year at sites countrywide, with knowledgeable individuals (persons of good conduct) leading and maintaining the rituals. Devoted devotees and temple guardians are tasked with tending to these sites, teaching devotees the key ritual acts, and offering incense. According to folklore researchers, the worship of the Hung Kings is very sacred to Vietnamese culture, creating unity and strength for national construction and defense. Vietnamese people are proud of their ancestors, Lac Long Quan, the Dragon Lord, as well as Au Co, the Fairy Goddess, as their mothers. Vietnamese pride and bonding are embodied in the worship of the Hung Kings. Vietnamese spiritual sentiments are converged during this time, aiding Vietnamese in remembering their roots and promoting national unity. This tradition continues today, embodying spiritual solidarity and acknowledging the origins of Vietnamese cultural and moral identity. | Belief • Ritual | Vietnam | Phú Thọ | |||||||
| Hurling (edit) | Hurling is a game played by two teams that date back 2,000 years. The Irish mythology includes the game prominently, in particular, in Cú Chulainn's epic saga. Throughout Ireland, especially in more fertile agricultural regions, as well as abroad, hurling is played. Several references to hurling (known as iomáin' in Gaelic) can be found in the earliest Irish manuscripts dating from the 13th century. In Gaelic, the stick is called a 'caman' or hurley. Historically, hurling has been played between neighboring clans or rival parishes. There can be unlimited numbers of players on either side. In 1884 the Gaelic Athletic Association (GAA) was founded in Thurles, County Tipperary, to revive and re-establish hurling and other traditional Irish pastimes. In traditional games, the number of players was not regulated. Adult teams consisted of fifteen players. The game is played on a marked pitch, with the players using a wooden stick (hurley), which is similar to a hockey stick, but with flat ends. A small ball is used, known as a sliotar. Hurlers are male, camógs are female, and on average the size of the field is 137 meters long and 82 meters wide with a goal post at each end. In the game, players use hurleys to hit a small ball called a 'sliotar' between a goalpost for one point or under the crossbar for three points. No protective padding is required for the players, as of 2010. As of 2010, plastic protective helmets with face guards are mandatory for all age groups. Known as the "bastion of humility", the players' jerseys do not include their names, and numbers are determined by the player's position on the field. A women's version of the game is called 'camogie'. Since the foundation of the GAA in 1884, which resulted from the introduction of a set of official rules, the game of hurling has evolved into the game we know today. The original idea of man-on-man contests within a positional sport has been added to and eroded over the years to varying degrees. The sport of hurling is a vital part of Irish culture, promoting health and well-being, inclusiveness, and the spirit of teamwork. Since the Gaelic Athletic Association is the custodian of Hurling, it has a vital role to play in promoting and transmitting the skills and values associated with this sport. Originally, these skills were taught by coaches and through games in schools and clubs. Today, the GAA and Camogie Association, both volunteer-led organizations, play an important role in promoting and transmitting these values. With over 2,500 membership clubs, the GAA is the largest amateur sporting association in the world with more than 800 clubs outside of Ireland. Today, hurling is regarded as the oldest, fastest, and most skillful field game in the world. | Entertainment and Recreation | Republic of Ireland | (03) Good Health and Well-being • (05) Gender Equality | |||||||
| Hüsn-i Hat (edit) | Hüsn-i hat or Hüsn-i calligraphy is a centuries-old system of writing Arabic letters in a measured and proportionate manner while considering certain aesthetic properties. The word "calligraphy", which means "to write and draw", also means "spiritual engineering performed with physical tools". After the Seljuks and the Turks started developing this art in the 11th century, it reached its peak during the Ottoman period. One of the important characteristics of Ottoman calligraphy school was learning to use the pen, mastering the art, and developing the strength and power needed to arrange the letters. Istanbul soon became the major center of calligraphy. For centuries, the best calligraphers had come from Istanbul, and students had come from around the world to study calligraphy. A calligraphy school was established after the conquest of Istanbul called the Palace Nakkaşhânesi. During the Ottoman period, the art of calligraphy took the highest level. The sultans were especially pleased and gave special compliments to the sultans. This art of calligraphy ceased to be "Arabic calligraphy" and gained a national identity thanks to Sheikh Hamdullah, who was considered a genius of calligraphy. The works that came from here spread throughout all madrasahs, dervish lodges, schools, and mosques. Traditional tools include Hüsn-i hat paper, which is glazed with organic substances, a reed pen, a penknife, a slab to trim the reed pen, an inkwell, and a special type of ink, and a pen case. Hüsn-i hat writers are known as hattats, and they pass on their knowledge, crafts skills, and values through apprenticeships. This art can be written either on leather or on paper. Other materials that may be used include stone, marble, glass, and wood. When performing the art of calligraphy, the calligrapher must first decide what beautiful words or sentences to write. He then combines this with his own imagination. Since this requires knowledge, experience, and creativity, not everyone can perform this art. Many different styles of Hüsn-i hat were used in the past. Specifically in Islam, Hüsn-i hat is regarded as a means of not only writing the Koran but of depicting the ideas that were being written visually. Turkish calligraphy continued to shine during the 19th and early 20th centuries. The Koran and hadiths (statements of the Prophet Muhammad), as well as poetry, were traditionally written in this style. The Hüsn-i hat, however, ceased to be a common art with the switch to the Latin alphabet in 1928. It has now become a traditional art, as it is still used today in mosques, Turkish baths, and temples. | Art • Craftsmanship and Practices • Verbal Arts and Literature | Turkey | (04) Quality Education • (12) Responsible Consumption and Production | |||||||
| Ichapekene Piesta (edit) | Ichapekene Piesta is a syncretic festival in Bolivia. This colorful folk festival is called Ichapekene Piesta in Moxeno-Ignatian, and is celebrated in San Ignacio de Moxos in Bolivia that takes place from July 30 to August 2 every year. Early pioneers of baroque art, primarily through music, but also through painting and architecture, were influenced by local cultures. In this country, you can find more than 8,000 sheets of baroque music from the Spanish invasion period, which had been jealously preserved by some natives, and which are now performed by groups such as the Moxos Ensemble at festivals inside and outside the country. The best-known dance of the Mayas is the Macheteros, a group of solar warriors with beautiful feathers made with macaw tails. These warriors aid Ignacio de Loyola in his fight to recover the flag of Christianity and defend their ancestors from the Moxenos or infidels or enemies. Cirilo Yaca Émata became the main cultist of the Macheteros' music (taquirari). On the night of July 30, they burn the 'chasqueros' which they wear on the crown of their long hats made of raw cowhide, symbolizing light and clairvoyance. They are considered masters of the forest and water, and they dance to the sound of their own taquiraris. They speak with a festive, playful language. A multicolored typical costume represents the Moxena worldview during these days. On the sound of native melodies, or taquiraris, the groups comprised of musicians and dancers dance the taquiraris in traditional dances. In addition to dancing to baroque music, the Jesuit missions era was known for its musical style. A tallow stick is also part of the party, which many attempts to climb so they can get prizes. Chicha de camote is served as a non-alcoholic drink during the festivities. In May there are fireworks, singing, and praises, and in July the celebrations continue with daily masses, funeral wakes, almsgiving, and feasts. In order to mark Saint Ignatius' victory over the guardians of the holy flag - the original 'owners' of the forest and water – twelve sun warriors battle them before converting them to Christianity. The ceremonies are a form of Christian faith and constant rebirth, allowing the Moxeno people to return to their religious roots in the presence of their ancestors' spirits. However, the feast is symbolizing the gift of light and the vision of living in harmony, children shoot fireworks from their wide-brimmed hats around midnight while playing tricks and dancing to the Baroque-era music of the Jesuit missions. ===References=== (https://ich.unesco.org/en/RL/ichapekene-piesta-the-biggest-festival-of-san-ignacio-de-moxos-00627) (https://es-m-wikipedia-org.translate.goog/wiki/San_Ignacio_de_Moxos?_x_tr_sl=es&_x_tr_tl=en&_x_tr_hl=id&_x_tr_pto=sc) (https://pt-m-wikipedia-org.translate.goog/wiki/Ichapekene_Piesta?_x_tr_sl=pt&_x_tr_tl=en&_x_tr_hl=id&_x_tr_pto=sc) (https://www.amborotours.com/moxos-bolivia.html) | Belief • Dance • Entertainment and Recreation • Music • Ritual | Bolivia | (11) Sustainable Cities and Communities |
{{#cargo_query:
tables=Articles
|fields=_pageName=Page,Description=Description,Body=Body,IF (`URL` <> '', CONCAT('[', `URL`, ' URL]'), '')=URL,Subject__full=Subject,Country__full=Country,Region__full=Region,SDG__full=SDG,Tags__full=Tags,IF (`Media_URL` <> '', CONCAT('[', `Media_URL`, ' URL]'), '')=Media URL,File=File,Image_Caption=Image Caption
|order by=`_pageName` , `Description` , `Body` , IF (`URL` <> '', CONCAT('[', `URL`, ' URL]'), '') , `Subject__full`
|offset=100
|limit=100
|max display chars=300
|edit link=yes
}}