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EleMents inscriBed in 2011 on the UrGent saFeguardinG List, the representatiVe List INTANGiBLe cULtURAL HERITAGe and the reGister oF Best saFeguardinG practices What is it? creation. For the purpose of the Convention, consideration INTANGiBLe cULtURAL SECRETARIAT will be given solely to such intangible cultural heritage as is HERITAGe FUND oF THE CONVENTION Intangible cultural heritage includes practices, representa- compatible with existing international human rights instru- ments, as well as with the requirements of mutual respect The Fund for the Safeguarding of the The List of elements of intangible cultural tions, expressions, knowledge and know-how that communi- Intangible Cultural Heritage can contribute heritage is updated every year by the ties recognize as part of their cultural heritage. Passed down among communities and of sustainable development. financially and technically to state Intangible Cultural Heritage Section. safeguarding measures. If you would like If you would like to receive more information from generation to generation, it is constantly recreated to participate, please send a contribution. about the 2003 Convention for the by communities in response to their environment, their Safeguarding of the Intangible Cultural the inscriptions Donations in US$ should be made to: Heritage, please contact: interaction with nature and their history, providing them UNESCO account: with a sense of identity and continuity. 949-1-191558 Intangible Cultural Heritage Section The Convention for the Safeguarding of the Intangible CHASE JP MORGAN BANK UNESCO International Money Transfer Division 1 rue Miollis Cultural Heritage has several systems for safeguarding at the 4 Metrotech Center, Brooklyn 75732 Paris Cedex 15, France international level: the List of Intangible Cultural Heritage New York, NY 11245 Tel: + 33 (0)1 45 68 43 43 United States of America Fax: +33 (0)1 45 68 57 52 INTANGiBLe Why? in Need of Urgent Safeguarding, the Representative List Swift code: of the Intangible Cultural Heritage of Humanity and the CHASUS 33-ABA: 0210-0002-1 Email: [email protected] cULtURAL Internet: www.unesco.org/culture/ich The United Nations Educational, Scientific and Cultural Register of Best Safeguarding Practices. Donations in EUR should be made to: HERITAGe Organization (UNESCO) strives to cooperate with countries Following the sixth session of the Intergovernmental UNESCO account: Published in 2012 by the United Nations Educational, 30003-03301-00037291909-97 around the world for the safeguarding of the intangible Committee for the Safeguarding of the Intangible Cultural Scientific and Cultural Organization SOCIÉTÉ GÉNÉRALE 7, place de Fontenoy, 75352 Paris 07 SP, France cultural heritage. This heritage, traditional and modern Heritage, held in Bali, Indonesia, in November 2011, there Paris Seine Amont Printed in France in the workshops of UNESCO at the same time, nourishes cultural diversity and human are 27 elements on the List of Intangible Cultural Herit- 10, rue Thénard © UNESCO 2012 75005 Paris, France 2011 creativity. It can help to meet many contemporary challenges age in Need of Urgent Safeguarding, 232 elements on the Swift code: SOGEFRPPAFS of sustainable development such as social cohesion, education, Representative List of the Intangible Cultural Heritage of food security, health and sustainable management of natural Humanity and 8 programmes included in the Register of Best Please indicate that the contribution resources. It is also a significant source of income and job Safeguarding Practices. is a donation to the Intangible Cultural Heritage Fund. WWW.UNESCO.ORG/cULtURE/ICH BeLGiUM — Leuven age set ritual repertoire coLombia — Traditional knowledge of the jaguar shamans indonesia — Saman dance MaUritania — Moorish epic T’heydinn REPUBLIC oF KOREA — Taekkyeon, a traditional Korean © 2007, Karel Rondou of Yuruparí © 2006, Sergio Bartelsman, ACAIPI, Fundación Gaia Amazonas © 2010, Centre for Research and Development of Culture © DPC, Ministry of Culture martial art © 2007, National Research Institute of Cultural Heritage iran (Islamic Republic of) — Naqqāli, Iranian dramatic MeXICO — Mariachi, string music, song and trumpet REPUBLIC oF KOREA — Weaving of Mosi (fine ramie) © 2009, Guadalajara Chamber of Commerce story-telling © 2005, Department of Traditional Arts, ICHHTO Research Centre in the Hansan region © 2003, Cultural Heritage Administration BeLGiUM — A programme of cultivating ‘ludodiversity’: croatia — Bećarac singing and playing from Eastern Croatia safeguarding traditional games in Flanders © 2011, Sportimonium © 2008, Ministry of Culture iran (Islamic Republic of) — Traditional skills of building MONGoLIA — Folk long song performance technique of Limbe SPAIN — Festivity of ‘la Mare de Déu de la Salut’ of Algemesí and sailing Iranian Lenj boats in the Persian Gulf performances – circular breathing © 2010, Ts. Tsevegsuren © 2010, Generalitat Valenciana © 2009, Asghar Besharati/Hamshahri Sarzamin-e Man/Iranian Cultural and Geographical Studies BRAZiL — Call for projects of the National Programme croatia — Nijemo Kolo, silent circle dance of the Dalmatian hinterland of Intangible Heritage © 2006, Paulo Anchieta © 2008, Ministry of Culture Japan — Mibu no Hana Taue, ritual of transplanting rice in Mibu, PERU — Eshuva, Harákmbut sung prayers of Peru’s Huachipaire people SPAIN — Revitalization of the traditional craftsmanship Hiroshima © 2009, Kitahiroshima-cho © 2010, National Institute of Culture of lime-making in Morón de la Frontera, Seville, Andalusia © 2005, M. Gilortiz BRAZiL — Fandango’s Living Museum CYPRUs — Tsiattista poetic duelling © 2005, Felipe Varanda/acervo Museu Vivo do Fandango © 2011, Larnaca Municipality Japan — Sada Shin Noh, sacred dancing at Sada shrine, Shimane perU — Pilgrimage to the sanctuary of the Lord of Qoyllurit’i tURKEY — Ceremonial Keşkek tradition © 2009, Matsue City Board of Education © 2004, National Institute of Culture © Information and Documentation Centre of Folk Culture/Ministry of Culture and Tourism BRAZiL — Yaokwa, the Enawene Nawe people’s ritual cZECH REPUBLIC — Ride of the Kings in the south-east for the maintenance of social and cosmic order © 2008, IPHAN of the Czech Republic © 2010, National Institute of Folk Culture portugaL — Fado, urban popular song of Portugal © 2008, José Frade CHINa — Chinese shadow puppetry France — Equitation in the French tradition © 2009, China Puppet and Shadow Art Society © 2009, ENE/Alain Laurioux MaLi — Secret society of the Kôrêdugaw, UNITED ARAB eMIRATES — Al Sadu, the rite of wisdom in Mali © 2007, DNPC traditional weaving skills in the United Arab Emirates © 2010, Intangible Heritage Department (ADACH) Graphic design & layout: Emmanuel Labard — www.l-e-studio.net CHINa — Hezhen Yimakan storytelling hUnGARY — Táncház method: a Hungarian model for MaLi and BUrkina Faso — Cultural practices and expressions REPUBLIC oF KOREA — Jultagi, tightrope Viet naM — Xoan singing of Phú Tho. Province, Viet Nam © 2010, Centre for Safeguarding the ICH of Heilongjiang Province the transmission of intangible cultural heritage © 2012, Hungarian Open Air Museum linked to the balafon of the Senufo communities of Mali and Burkina Faso walking © 2000, Cultural Heritage Administration © 2011, Vietnamese Institute for Musicology © 2006, DNPC BRAZiL INDONESIA IRAN (Islamic Republic of) MaURITANIA PERU Bedouin men shear the sheep, camels and Yaokwa, the Enawene Nawe people’s Saman dance Traditional skills of building Moorish epic T’heydinn Eshuva, Harákmbut sung prayers goats, and women gather in small groups ritual for the maintenance of social and sailing Iranian Lenj boats of Peru’s Huachipaire people to spin and weave, exchanging family news Boys and young men among the Gayo people The T’heydinn epic encompasses dozens of and cosmic order in the Persian Gulf and occasionally chanting and reciting 2011 of Aceh Province in Sumatra perform Saman poems in the Hassaniya language lauding the The Huachipaire are an indigenous ethnic poetry. Girls learn by watching during these The Enawene Nawe people, who live in the sitting on their heels or kneeling in tight Iranian Lenj vessels are traditionally glorious feats of Moorish emirs and sultans group speaking the Harákmbut language WWW.UNESCO.ORG/cULtURE/ICH gatherings and are gradually given tasks to southern Amazon rainforest, perform the rows. Dancers clap their hands, slap their hand-built from wood and are used by and preserving the collective memory of and living in Peru’s southern Amazon do, such as sorting the wool, before learning Yaokwa ritual each year during the seven- chests, thighs and the ground, click their inhabitants of the northern coast of the society. Sung by griots and accompanied by tropical forest. The Eshuva, or sung prayers, the more intricate skills involved. month dry season to honour the Yakairiti fingers, and sway and twist their bodies and Persian Gulf for sea journeys, trading, traditional instruments such as the lute, harp are an expression of Huachipaire religious spirits and ensure cosmic and social order. heads in time with the shifting rhythm. The fishing and pearl diving. The traditional and kettledrum, the poems are passed down myths, performed for healing or as part of The different clans alternate responsibility: verses they sing offer guidance and can be knowledge surrounding Lenjes includes oral from father to son, with young griots first traditional ceremonies. According to oral VIET NAM one embarks on fishing expeditions religious, romantic or humorous
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  • ICTM Abstracts Final2

    ICTM Abstracts Final2

    ABSTRACTS FOR THE 45th ICTM WORLD CONFERENCE BANGKOK, 11–17 JULY 2019 THURSDAY, 11 JULY 2019 IA KEYNOTE ADDRESS Jarernchai Chonpairot (Mahasarakham UnIversIty). Transborder TheorIes and ParadIgms In EthnomusIcological StudIes of Folk MusIc: VIsIons for Mo Lam in Mainland Southeast Asia ThIs talk explores the nature and IdentIty of tradItIonal musIc, prIncIpally khaen musIc and lam performIng arts In northeastern ThaIland (Isan) and Laos. Mo lam refers to an expert of lam singIng who Is routInely accompanIed by a mo khaen, a skIlled player of the bamboo panpIpe. DurIng 1972 and 1973, Dr. ChonpaIrot conducted fIeld studIes on Mo lam in northeast Thailand and Laos with Dr. Terry E. Miller. For many generatIons, LaotIan and Thai villagers have crossed the natIonal border constItuted by the Mekong RIver to visit relatIves and to partIcipate In regular festivals. However, ChonpaIrot and Miller’s fieldwork took place durIng the fInal stages of the VIetnam War which had begun more than a decade earlIer. DurIng theIr fIeldwork they collected cassette recordings of lam singIng from LaotIan radIo statIons In VIentIane and Savannakhet. ChonpaIrot also conducted fieldwork among Laotian artists living in Thai refugee camps. After the VIetnam War ended, many more Laotians who had worked for the AmerIcans fled to ThaI refugee camps. ChonpaIrot delIneated Mo lam regIonal melodIes coupled to specIfic IdentItIes In each locality of the music’s origin. He chose Lam Khon Savan from southern Laos for hIs dIssertation topIc, and also collected data from senIor Laotian mo lam tradItion-bearers then resIdent In the United States and France. These became his main informants.