Northern Lights on Indigenous Intangible Heritage: a changing legal landscape in Sápmi
Tools and techniques involved in the manufacturing of traditional watermills (chhoskor) in West Kameng district, Arunachal Pradesh
The role of the morung age groups in expressing and transmitting agricultural knowledge in Nagaland, with particular reference to Khonoma Village
Quinceañera: a living cultural heritage safeguarding ethnic identity across borders
Semi-formal cultural governance and state-sponsored commercialisation in the intangible cultural heritage field: the case of Chongqing, China
Connecting Tokyo 2020 with people and places: a case of the Nanairo Ekiden as sport heritage
UNESCO’s Convention for the Safeguarding of the Intangible Cultural Heritage and the ‘goodness criteria’
Heritage, the illusion of inheritance and the volatility of memory: A reflection on the Procession of the Passion of Our Lord the Good Jesus, Macau
Intangible cultural heritage as a resource for ‘self-stakeholderisation’: fieldwork among politically active civil society stakeholders in the province of Vojvodina, Serbia
Between representation and performance: celebrating intangible cultural heritage in the Longji Ancient Zhuang Village, Longji Terraces, China
Portraying feminist beliefs and transcending cultural norms: Korean women artists’ reinterpretation of songs traditionally performed by men
Heritage preservation vs. adaptation to achieve sustainability – A case study of the Fishermen’s Dances, Rizhao city, Shandong province, China
Adapting the Living Human Treasures idea in Flanders (Belgium): The case of craftsmanship
Supporting ethnic craftswomen in Chiang Mai through digital media: acknowledging the possibilities and challenges
Craftsmanship in virtual reality: digital development and evaluation of traditional South African beer brewing
Safeguarding manuscript-reading tradition as living heritage through ritual: mocoan tradition of an Osing family in Banyuwangi, Indonesia
Intangible cultural heritage values in the Sunda Wiwitan ritual and ancient Sundanese manuscripts as basic concepts of traditional building in Indonesia
Integrating ICH and education: A review of converging theories and methods
‘Our Culture is dying’: Safeguarding versus representation in the implementation of the UNESCO ICH Convention
The Origin Myth of Sun and Moon in the Andean and Korean Traditions*
‘We paint stories we heard from our ancestors’: Intangible heritage of the Pardhan Gonds of Central India
Hermano mayor: fiesta sponsorship in the contemporary Philippines
UNESCO’s intangible cultural heritage and its polarising nature: A case study on Aalst Carnival
Documenting an endangered Cambodian musical tradition: Unexpected findings on the provenance of the British Museum’s “Asset 1380796001”
Uncast in stone: Inspired by absence to build a solid museum practice
Between People and Place: Folklore Pertaining to the Natural Environment in a Farming Community in Argao, Cebu
Exploring sonority embedded in cultural heritage: Path, transit and listen through the Silver Route (Way of St James, NW Spain)
Turkish bath tradition: The example of Gaziantep, Turkey
Cultural impacts of state interventions: Traditional craftsmanship in China’s porcelain capital in the mid to late 20th century
Renewing museum meanings and action with intangible cultural heritage
Research flows and results of studies on intangible cultural heritage: A network analysis of articles in related international journals, 2002–2020
Safeguarding intangible cultural heritage through formal education in Flanders: A critical analysis of the implementation of the 2003 UNESCO Convention
The status of women weavers as heritage bearers: Accounts of social transformation and empowerment in the province of Canchis, Cuzco, Peru
Safeguarding ritual practices in the limestone cave areas along the Swahili coast of the Indian Ocean in Tanzania
The conservation and management of intangible cultural qualities as the fragments of the spirit of place: The case of the Istanbul Land Walls
An approach to enhancing contemporary handmade products with historic narratives
Living site, living values: the Matendera festival as practice in community conservation and presentation
Wangkarra : communication and the verbal arts of Australia’s Western Desert
Intangible heritage in the United States: a history of separate initiatives
Dovetailing: safeguarding traditional craftsmanship using virtual reality
Cross-cultural understanding of Chinese traditional puppetry: integrating digital technology to enhance audience engagement
(Co-)curating the rural traditions and material culture of villages: a case study in Wanju, Korea
‘Grandfather Tree’: Ute Horror at the Killing of a Heritage Tree
Contemporising Custom: the re-imagining of the Mari Lwyd
Panaad and the Paril: Traditional Systems of Soil and Water Conservation in Cebu, the Philippines
In Search of Honour: Eya Ebule as a Legacy of Igbo resistance and food security from World War 2
Puha Po to Kavaicuwac: a Southern Paiute Pilgrimage in Southern Utah
Tide and Time: Korean Fishermen's Traditional Knowledge of Multtae in Gomso Bay
Instructions to contributors
Crafting Collaboration: Conflict Resolution and Community Engagement in the Hangzhou Arts and Crafts Museum Cluster
Liquid Gold: Berber Women and the Argan Oil Co-operatives in Morocco
Flooded Lands, Forgotten Voices: Safeguarding the Indigenous Languages and Intangible Heritage of the Nubian Nile valley
Zhao Mu: The Presence of the Past in the Meaning(s) of Space in Confucius’ Graveyard
Classical Horsemanship and the Dangers of the Emergent Intangible Cultural Heritage Authorised Discourse
Sanctuary of the Spirits: Okwu-muo, Ori Oke and ‘Mammy Water’ in the Veneration of Sacred Natural Sites in Southern Nigeria
Mystical Music: Safeguarding Sufiana Mausiqi - a Vanishing Art Form of Kashmir
‘All Hands on Deck’: the ‘Sailing’ Landships as unique Cultural Icons of Barbados
Masquerade as Memory: Conflict as Heritage in Lavras do Abade, Brazil
Ụzọ mma: Pathway to Intangible Cultural Heritage in Otobo Ugwu Dunoka Lejja, South-eastern Nigeria
The Name of the Game: Oware as Men’s Social Space from Caribbean Slavery to Post-Colonial Times
Chuskor: Traditional Water Mills of the Dirang Monpas of Arunachal Pradesh
The Fiesta of the Patios: Intangible Cultural Heritage and Tourism in Cordoba, Spain
Instructions to contributors
Ghost of the Forest: the Tangible and Intangible in Natural and Cultural Heritage
Flowers for 'Mama Mary': Cultural Hegemony and Change in Argao's Traditional Flores de Mayo
Disappearing Dialect: the Idu-Mishmi Language of Arunachal Pradesh(India)
Food for the Soul: Eternal Co-existence in the Mayan-Catholic Traditions of Pomuch, Mexico
Spirit of the Loom: the Conservation and Commodification of Surin's Textile Cultural Heritage
Common Histories, Constructed Identities: Intangible Cultural Heritage and the Rebranding of Serbia
Indigenising Intangible Cultural Heritage: Comparison and Interpretation of the Concept of ICH in China
An Integrated Methodology for the Conservation of Traditional Craftsmanship in Historic Buildings
Why Local Governments Matters in Implementing the UNESCO 2003 Convention: the Case for ICCN
Brief biographies of the Authors
IJIH Subject Index
Instructions to contributors
Sacred water: rediscovering the ancient hydraulic system of Angkor and traditional knowledge of water management and engineering systems
Marshal Nezha ‘transformed’: Techno Nezha in Taiwan
The value of memory: Suakin’s cultural heritage - significant for whom?
A network of traditional knowledge: the intangible heritage of water distribution in Bahrain
Bruegel and Burke were here! Examining the criteria implicit in the UNESCO paradigm of safeguarding ICH: the first decade
Altai Kazakh falconry as ‘heritage tourism’: the Golden Eagle Festivals of Western Mongolia
Instructions to contributors
Losing our Masks: Traditional Masquerade and Changing Constructs of Barbadian Identity
Ethnological Values and Opportunities for Establishing a Heritage Policy around Tuna-trapping in Andalusia (Spain)
Challenges Surrounding the Survival of the Nishijin Silk Weaving Industry in Kyoto, Japan
The Intangible Cultural Heritage of Wales: a Need for Safeguarding?
Barbadian Bio-cultural Heritage: an Analysis of the Flying Fish
A Sense of Place: Re-purposing and Impacting Heritage Resource Evidence through Digital Heritage and Interpretation Practice
The Role of Intellectual Property in Safeguarding Intangible Cultural Heritage in Museums
The Ritual of Boat Incineration on the Island of Vis, Croatia: an Interpretation
Asian Indian Celebrations of Ethnicity: Perspectives from the Mid-western United States
The System of Sponsorship for Processional Images and the Traditions Associated with them in Cabiao, Nueva Ecija, the Philippines
The Catalan Fishermen’s Traditional Knowledge of Climate and the Weather: a Distinctive Way of Relating to Nature
Contemporary Falconry in Altai-Kazakh in Western Mongolia
The Documentation of Endangered Altaic Languages and the Creation of a Digital Archive to safeguard linguistic diversity
Safeguarding the 'path of the souls' : the Don Bosco Museum of Cultures
Tanedori of Taketomi Island: Intergenerational Transmission of Intangible Heritage.
Revitalisation of the folk epics of the Lower Yangzi Delta: an example of China's intangible cultural heritage
Fresco: intangible heritage as a key to unlocking the links between the conservation of biological and cultural diversity in Alamos
Reading the intangible heritage in tangible Akan art
Cosmology: an Intangible Heritage Exhibition and Educational Programme at the Museum of Astronomy, Rio de Janeiro
Beyond the Dance: a Look at Mbende (Jerusarema) Traditional Dance in Zimbabwe
The Problems and Opportunities of Content-based Analysis and Description of Ethnic Music
Museums and the Intangible Heritage : the Case Study of the Afrikaans Language Museum
Crossing Cultures through the Intangible Heritage: an Educational Programme about Migration in Greece
Project Report: the National 'Human Living Treasures' Programme of the Astra Museum, Sibiu, Romania
2007 : the Year of Jeju Folklore Project- eviving the Cultural Heritage of Nature's Paradise
Intangible Heritage: A Pacific Case Study at the Museum of New Zealand Te Papa Tongarewa
The Difficulties of Interpreting Mediterranean Voices: Exhibiting Intangibles Using New Technologies
Free standing dry-stone-walling at Matendera, and the crown of the kopje from which the granite used to build the monument was sourced.
Traditional performances during the Matendera festival.
Traditional dances performed by school children from nearby schools.
Participants showing traditional dishes they have prepared for the cooking competition.
Tjarlirli by Esther Giles, 2016. This painting is of the waterholes and sandhills of Esther Giles’ traditional country around Tjarlirli.
Leaves and other small objects are used to represent characters in sand stories.
Purrungu by Elizabeth Marrkilyi Ellis, 2016. This painting is of the country around Purrungu which was created by the Kutungu Woman in the Tjukurrpa
The WDVA team documenting sand storytelling in the Ngaanyatjarra Lands.
Graphic elements in a sand story, representing people (‘U’ shapes), a fire, artefacts, and an enclosing shelter. Drawing by Elizabeth Marrkilyi Ellis.
Joella Butler, 2013. ‘Tjalaku – Going for honey ants in the Toyota’.
Sheila Kay Adams, story teller, banjo player and NEA Heritage Fellowship recipient.
Hula performance, Hawaii Volcanoes National Park.
Nansemond tribal members recognised by the Commonwealth of Virginia in 1985.
The Smithsonian Folklife Festival, 2002.
Virginia string band, Ballard Branch Bogtrotters Band (1934-1942), Galax, Virginia, 1937. The types of folk traditions recorded through early federal recording efforts.
Donald Chosa Jr. Traditional rice gathering in Minnesota, Mark Sauer.
Preparing for local ceremony, Kosrae, Federated States of Micronesia.
Hot 8 Brass band at a New Orleans funeral.
A glimpse of the interior of a 1960s unit, Hong Kong Housing Authority Exhibition Centre.
Footage from our shadowing-capture, from both the stationary and handheld cameras.
Footage from our evaluation with the joiner (left) and the carpenter (middle).
A comparison between the real object (left) and our 3D model (right).
Footage from the video viewing, with the joiner viewing our edited shadowing footage on a laptop and commenting on it.
Semi-structured interviews and gesture filming, Garlic Theatre, Norwich.
Fieldwork and in-depth semi-structured interviews, Edinburgh International Festival.
Yogang, Juklim village, Gyeongcheon-myeon, Wanju-gun, belonging to Jung-sul Park (71 years old).
Duri persimmons, Wanju-gun, Gosan-myeon, Daehyang village.
Cotton clothing, Bibong village, Gyeongcheon-myeon, Wanju-gun made by Yeoung-sun Yu (80 years old).
Wedding vow written by Jae-deok Kim, 1959.
Towel, Bibong village, Gyeongcheon-myeon,Wanju-gun made by Yeong-sun Yu (80 years old).
Group interview at Gujae Village Hall in Gyeongcheon-myeon, Wanju-gun.
A jak-du, Juk-dong Village, Hwasan-myeon,Wanju-gun, owned by Bang-rye Kwon (84 years old).
Cotton clothing, Bibong village, Gyeongcheon-myeon, Wanju-gun made by Yeoung-sun Yu (80 years old).
Keumsu gangsan (embroidery) by Bo-im Han (86 years old), Juklim village, Gosan-myeon, Wanju-gun.
Hemp pants made by Chun-chak Yi (81 years old) Sungjae village, Gosan-myeon, Wanju-gun.
The 2007 sign designating the Grandfather Tree as a Colorado landmark.
Young Ute tribal member in traditional garb speaking to the audience about theimportance of the tree to her heritage.
The Grandfather Tree just before being cut down. According to newspaper reporter Kelly Slivka … it was still green at its crown and stood quietly in the still air with hummingbirds and doves moving through it’s canopy.
Remains of the Grandfather Tree killed by the Delta Historical Society.
The Grandfather Tree just before being cut down. According to newspaper reporter Kelly Slivka … it was still green at its crown and stood quietly in the still air with hummingbirds and doves moving through it’s canopy.
Enshrined portion of Grandfather Tree in front of Ute Mountain Ute Tribal Headquarters.
The Blue Mari Lwyd, Walthamstow, organised by Lucy Gibson
The first appearance of a new Mari Lwyd, 2017. Unusually, this example, rather than being tied to a specific location or community, was the work of an individual enthusiast. The loss of connection between the Mari Lwyd and a 'home' could mark another step in the evolution of the tradition.
The making of a modern Mari Lwyd. Patrick Dean and Matthew Youde assemble a ‘flat pack’ [see below] Mari Lwyd for an event in London, 2016.
The Llanfihangel Tor y Mynydd Mari Lwyd (left), hosting two additional Mari Lwyds in 2017. The appearance of multiple horse's head effigies at Mari Lwyd 'events' has become an increasingly common element of the tradition.
A cardboard flat pack Mari Lwyd, constructed and organised by the Spring Heeled Jack band, performed at the London Welsh Centre and nearby venues.
The Blue Mari Lwyd, Walthamstow, organised by Lucy Gibson
Los Angeles St. David’s Day Festival, 2013
A series of datags and stonewalls rising in a series of terraces in Sitio Cabalawan, Barangay Tabayag.
A corn farm (in a wide datag) in Sitio Cabalawan, Barangay Tabayag.
A paril (stone wall structure) built to collect eroded soil.
Mt. Lantoy, considered a sacred site in the upland barangays of Argao. It wasdeclared a watershed forest reserve by the government of the Philippines.
The former refectory with medieval masterpieces in the Museum Catharijneconvent.
A winner of the trophy on two occasions displays his eya ebule trophies on both arms.
Tubers of yam and jars of palm wine to entertain the contestants.
Tethered ram to be won by the most resourceful labourer.
A masquerader adorned with the eya ebule trophy on both arms.
Offerings found at Five Mile Spring.
The Entrance to Catstair Canyon.
Water Babies found at Catstair Canyon.
The pilgrims’ first view of Kavaicuwac.
View of Kavaicuwac with Kavaicuwac Paayuxwitse in the Foreground.
Left: photo of a traditional OvaHimba dwelling. Right: 3D model of the dwelling.
Left: photo of a traditional OvaHimba dwelling. Right: 3D model of the dwelling.
This shows the 3D model being evaluated by some of the women from the community.
Uriaieke taking a photo of an OmuHimba woman in front of a traditional dwelling.
Fishermen catching webfoot octopuses in the morning ebb tide.
Sea foam on the rising tide early in the morning in summer.
Fishermen hauling in shrimp nets to dry during neap tides.
Fisherwoman catching akiami paste shrimps near the coast at the low tide.
Fisherwoman carrying a skimming net with shrimps in her hand.
A scene in the Knives, Scissors, and Swords Museum of the ACMC.
An exhibition at the Hangzhou Arts and Crafts Museum Master Workshop ofthe ACMC.
An artisan making an umbrella in the WorkmanshipDemonstration Pavilion of the ACMC.
Two artisans making a pair of scissors in the WorkmanshipDemonstration Pavilion of the ACMC.
Some of the finished products on display at the Cyprus Handicraft Centre.
Mare Nostrum and Lefkaritiko [oil on canvas and cotton thread] by NitsaHadjigeorgiou.
Some of the finished products on display at the Cyprus Handicraft Centre.
The 2015 Lefkara embroidery short course of the Cyprus National Commissionfor UNESCO.
Examples of Julia Astreou-Christophorou’s work displayed at her workshop-cumshowroom.
The Lefkara embroidery workshop at the Cyprus Handicraft Service building.
Asproploumistres (Antigoni,Nedi, and Eurydice) ceramic sculptures by AnastasiaLambaski-Onisiforou.
A tablecloth with the river design (potamos) dividing it into sections, filledwith floral and geometric designs.
Toghu cloth is the traditional cloth worn in the Northwest region of Cameroon.
Toghu cloth is the traditional cloth worn in the Northwest region of Cameroon.
The argan tree grows mostly in Morocco. Its fruit is an oval berry, the shape of a large and round olive.
From left to right: dried argan fruits, pits and kernels.
Pressing is consistently kneading the dough until the emulsion separates from the solid dough. The emulsion is then decanted and filtered
Argan trees are frequently climbed on by goats.
A millstone comprises a runner stone lodged on top of a bed stone, but millstones for dried goods (first from the left) or for argan oil are shaped slightly different.
Pits have to be cracked open with a hammer stone to retrieve the kernels inside.
A pounder and an anvil are needed for de-pulping.
Berber women milling, pit-cracking and pressing are depicted on a cooperative’s wall.
The bed stone remains stationary when the runner stone rotates, and through the ‘eye’ in the runner stone, the kernels are funneled down and ground.
Argan oil soaps and moisturisers are popular souvenirs for tourists.
Oil extraction machines produce argan oil efficiently.
Nubian musician playing the traditional Nubian instrument - kisir
The First Nubian Culture and Tourism Festival brochure
New Nubian social spaces in Absambal (Abu Simbel), Egypt.
The Nubian Languages and Culture Project launch poster
ELAR archive homepage – a digital repository for Nubian documentation
Lake Nubia/Nasser, part of the Nubian submergence area created by the Aswan High Dam. Many ancient Nubian towns, villages and places are drowned under these waters.
Stone tablets moved from the Confucian graveyard and exhibited in the museum.
Spatial pattern of Zhao Mu clusters in Confucius’ graveyard.
The spatial dimension of aura shown in Confucius’ graveyard.
Spatial line along the footpath marked by the tombstones of Confucius’ direct heirs.
Kong Qinghe walking among the five tombstones of his immediate ancestors, ranked in Zhao Mu order along the 400-year old spatial-temporal footpath.
Red Guards smashing the stone tablet in front of Confucius’ tomb.
Confucius inscribing words on Chi-cha’s stone tablet.
An example of the type of horse used in the Renaissance development of classical horsemanship.
Performing the Courbette, Cadre Noir, France.
Eleves at work, Spanish Riding School, Austria.
Squires and dressage horses assembled, Cadre Noir, France.
Training of Eleve, Spanish Riding School, Austria.
Homecoming of the Colts , Spanish Riding School, Austria.
Oke Maria site in Oka Akoko, Ondo State, Nigeria.https://plus.google.com/100557817261797835372/posts/QUqHp5Haj1J
Charm nailed to the bark of a Milicia excelsa tree in Ibadan, Nigeria.
Sufiana artists playing the Tabla and Sehtar from Qaleenbaft Gharana.
These dancers perform the Landship at the Crop Over Awards ceremony in 2013.
The Pinelands Creative Workshop children performing Landship at NIFCA.
The Barbados Landship performing the maypole in theCity of Bridgetown as seen in this 35th anniversarycommemorative stamp.
A view of a section of the square. The three arrows indicate the three Ojiroshi (ojilisi) trees.
Okiti Akpuriagedege Oshimiri - the masked-spirit house.
Three Views of an Oware game board from Ghana, West Africa.
Two Barbadian master players of Warri in Speightstown.
Three Views of an Oware game board from Ghana, West Africa.
Oware Board game in Tidjikja, Mauritania.
Three Views of an Oware game board from Ghana, West Africa.
Matthew Clarke’s Graphic Novel Image of Landships in Third Dimension.
A panel discussion about heritage archives in progress during a community theme day.
Children and community participants at a digitisation workshopat the Gallen-Kallela Museum.
Students visiting the Light is History ‘contact zone’ inHakaniemi Market Square, Helsinki.
Archive of contemporary artefacts from the community,accompanied by personal narratives.
Rangthang and jangpa grinding flour.
The splendour of spring in Córdoba: water and flowers.
Transmitting knowledge to future generations. From grandparents to grandchildren,almost like a game, any family occasion in the patios is perfect for transmittingthe essence and values of the Fiesta of the Patios.
Preparing for the festival. The cultural space where the Fiesta is celebrated and prepared - the Cordovan patios - is created from one day to the next, through inherited tradition and the creativity of individual residents.
The splendour of spring in Córdoba: water and flowers.
Different types of flowers on display in a patio.
Participating in the festival. The Fiesta of the Patios, the unique result of thesymbiosis between community and nature, announces spring every May and recallsits values: hospitality, respect, equality, solidarity and sustainability.
Traditional decoration of a patio in Cordoba using different types of flowers.
The Solitaire (Pezophaps solitaria) was said to ...make a great noise withtheir wings when angry, and the noise is something like thunder in thedistance. (1891)
Whales entering rivers intentionally, possibly to rest or to get rid of marine parasites in fresh water, may have been a more common phenomenon in the past. This humpback whale calf and its mother entered the Sacramento River, California in 2007.
Rock paintings of domestic and wild animals at the World Heritage Site of Tadrart Acacus in Libya. The tangible and intangible properties of the natural species inspired human artists.
The Imperial woodpecker (Campephilus imperialis) which threw himself over on his tail, with outspread wings, presenting a warlike front of threatening beak and talons. This pair are displayed in the Naturhistorische Landessammlung Wiesbaden, Germany.
The ‘peculiar manners’ of Erythromachus leguati included the phenomenon that If you offer them anything that is red, they are so angry that they will fly at you to catch it out of your hand. Only its bones survive. (1879)
Whale skeletons found in Wadi al-Hitan, Egypt, give us an insight into these creatures’ anatomy but their behaviour remains unknown to us.
The Passenger pigeon migrated in immense flocks in search of food. This may still affect the species composition of some forests.
The Kagu (Rhynochetos jubatus) is also known as the ‘Ghost of the Forest’. Its calls are echoed in the traditional songs and dances of New Caledonia.
An example of a Belen featuring the whole Christmas story and other importantevents in the life of Jesus Christ.
The group of angels and the seminarian assigned to the parish after the end-of-May procession.
One of the author’s informants, now in her 50s, as a ‘flower angel’.
A Carroza depicting the scourging of Jesus Christ at the pillar.
The skulls of sacrificed mithuns are hung on the walls of houses to demonstrate the wealth of the household.
Pachu Pulu, an igu (priest) conducting a ritual during the Reh festival in February 2014.
Idu children in traditional dress.
An Idu woman at her loom.
Mayan names.Photo: by permission of Eva Chaire, October 2013.
Mrs Rosa Yam showing a hipil.
Covering the earth oven to cook the pibipollos.
Wooden cross on top of bones.
Cleaning and dressing the bones.
Image of the Immaculate Conception of the Virgin Mary.
Bones exposed at the cemetery in a family ossuary. Photo: by permission of Eva Chaire, October 2013.
Mr Rafael Pérez Novelo in his bakery ‘Pomuch’s Bread’.
Parish Church of the Immaculate Conception of the Virgin Mary.
The dough is wrapped in banana leaves.
Silks with designs like those for the Khmer royal court.
A Jor or bamboo basket with tiny holes to hold silk cocoons.
Surachote Tamcharoen teaching a woman to dye with indigo.
Opanak making demonstration at the Belgrade International Tourism Fair in 2015.
Rug making at Pirot, Biznis & Finansije, January, 2015. Source: http://bif.rs/
A Pirotski Kilim - a traditional Serbian carpet, Ethnographic Museum, Belgrade.
A Xiushan lantern painted with flowers. This is actually the name for a performance that includes songs, music, dance and drama. The performers carry painted lanterns and wear colourful costumes. The tradition dates back to the Tang and Song dynasties and was inscribed on the list of Chinese ICH in 2006.
The Great Wall of China.Photo: http://www.tuku.cn/wallpapers/view.aspx?id=6885&type=1440x900 [2015-3-25]
Ornamented wooden panel carved using traditional techniques and tools.
Master and apprentice carving the motifs on the wooden panelusing traditional techniques and tools.
Ornamental marble column carved using traditional techniques and tools.
Carving motifs on the niche using traditional techniques and tools.
Master and apprentice drawing motifs on the flat wooden panel.
Ornamented niche carved in tuff stone using traditional techniques and tools.
Student carving the capital of a marble column using traditional techniques and tools.
Traditional fireplace embellished with geometricmotifs carved in tuff stone using traditionaltechniques and tools.
Building master working on the model of the carved-out settlementin tuff stone using traditional techniques and tools.
Tango performance at the first ICCN Festival.
Street parade at the Gangneung Danoje festival.
The International Women's Forum at the second ICCN Festival.
Jojeonje morning ritual at the Gangneung Danoje festival.
Street parade during the first ICCN Festival.
Ceremony at Neak Poan – praying for rain, day 1 of the ceremony.
Neak Poan and its water basins.
Angkor Wat, aerial and general views.
Detail of the 9th century Bampenh Reach spillway which directed water to the Capital, Roluos (later to Angkor) showing details of the grooves in the laterite blocks.
Fishing in the North Baray.
Tourists boating on the North Baray.
Detail of the 9th century Bampenh Reach spillway which directed water to the Capital, Roluos (later to Angkor) showing details of the grooves in the laterite blocks.
Neak Poan and its water basins.
Fishing in the North Baray.
Angkor Wat, aerial and general views.
Ceremony at Neak Poan - praying for rain, day 2 of the ceremony.
Nezha’s style is very diverse as his followers are very creative in dressing him.
Children like having their photos taken with Nezha.
Sometimes followers invite Techno Nezha to join in their celebrations.
Followers have given Nezha white gloves to wear which look very cute.
Techno Nezhas riding motorcycles through the streets.
Techno Nezha patrolling the street wearing modern dress.
Crowds gather at Sinying Taizih Temple for the ceremony.
Nezhas wearing big modern triangular glasses.
Techno Nezha dancing to heavy electronic dance music.
On the way to visit the shrine after Eid prayers.
An example of an old house in Suakin showing the fine woodwork.
A congregation attending Eid prayers.
A local boat building yard.
Showing the enduring relationship the Suakinese have with the sea.
Showing the enduring relationship the Suakinese have with the sea.
Locally made, vibrantly coloured boats.
Irrigation channels in a multi-crop garden.
A farmer shows water flowing into the general reservoir from which distribution begins.
A public gathering on a farm to discuss irrigation matters.
Irrigation channels in a multi-crop garden.
A farm worker redirects the flow of water by closing off a channel with old rags.
An improvised garden majlis for meetings of the farming community.
Irrigation channels in a palm garden.
A closed community meeting to discuss the division of an electricity bill.
Detail from The Battle Between Carnival and Lent (1559) by Pieter Bruegel I (oil on panel).
The Battle Between Carnival and Lent (1559) by Pieter Bruegel I (oil on panel).
Kermis van Hoboken by Pieter Bruegel I, Frans Hogenberg and Bartholomaus de Momper (engraving).
Wedding Banquet (1567) by Pieter Bruegel I (oil on panel).
Children’s Games (1560) by Pieter Bruegel I (oil on panel).
The Village Kermis (1567), also known as The Peasant Dance, by Pieter Bruegel I (oil on panel).
Netherlandish proverbs (1559) also known as The Blue Cloak by Pieter Bruegel I (oil on panel).
Impression of the semi-rural township of Inanda, north of Durban (eThekwini Municipality).
The eagle ‘recall’ contest at the Ulgii Festival in 2012.
Kok-Bal (traditional wrestling on horseback) at the Ulgii Festival in 2012.
Local shops selling traditional arts and crafts at the Ulgii Festival in 2012.
The Master Komarkhan, one of the most famous eagle hunters, taken at the Ulgii Festival in 2006.
A male student (UAEU) showing a hard copy of an online article on Emirati folk heritage.
The Peña Bernal, one of the defining natural features of the Otomi-Chichimeca region.
One of the family chapels of Tolimán: 18th century wall paintings and contemporary stewards.
Villagers in an open space/pasture being entertained by a masked stilt walker and band and a lady dancing to the music,1880s.
‘Spot and Pull’ Tuna Trap of Conil (Cádiz), 1765. Hand-drawn map where the stages of this kind of fishery are explained. The actions and tasks involved are represented in a two part sequence (the first operations are drawn at the top, the following ones at the bottom). The look-out towers (torres vigía) are shown.
An Asian worker cutting and filleting tuna in Barbate: the so-called ronqueo, which is the basis for the species use as food.
Quema [burning] de Juan y Juana festival (St John’s Day) has traditionally marked the end of the inbound fishing season. It is still celebrated today by the group of workers from Huelva province employed at the Zahara de los Atunes fishery, in the town of Barbate in Cadiz province.
Tuna fishing - a reflection by Salvador Dali on the struggle between Man and Nature along the Iberian Mediterranean coast. (304 x 404 cms)
Barbados one dollar coin.
Logo of the Barbados Tourist Authority.
Tinted engraving of flying fish, Stewart.
Boat with screelers and gill net.
A four-winged flying fish.
Fish processor at Oistins fish market.
Flying fish sculpture at the Grantley Adams International Airport.
At the Bingata artist event, Sachiko Yafuso (right), a craftswoman, explains how to make Bingata.
Feature entitled ‘The cutest hair arrangements for novice Yukata wearers’.
Cover of Kimono-salon, Spring 2011, featuring a popular TV anchor-woman in a kimono.
Virtual reconstruction of Newport Ship located in the submerged part of the Medieval Newport Virtual Museum in Second Life.
Flavius Rufinus, Centurion of the Second Augustan Legion interpretative guide to Caerleon.
The South Wales Centre for Historical and Interdisciplinary Research’s virtual home in Second Life.
Reclaiming King Arthur - The Legend in the Landscape webcast.
Casgliad y Werin Cymru/ People's Collection Wales Hub on the Digital Heritage Zone in Second Life.
Raglan Under Siege - digital content options available through the Layar augmented reality application.
Raglan Under Siege 1646 – a historical augmented reality trail.
Certificate of authentication used by the collective of Fine Ramie Weavers of Hansan Region (모시).
A visit to Gijisi Juldarigi Museum in Korea reveals some extraordinary safeguarding methods, both digital and manual, for a folk game, a form of Tug-of-war.
Demonstration of fine ramie weaving, Hansan regon in South Chungcheong Province. Photo: Seocheon County Hall.
Angklung Buhun played by the residents of Kanekes Village, Banten Province, Indonesia.
Royal festivities in Foumban, Cameroon.
Three boats burning in front of St. Nicholas' Church.
Wooden boats chosen for incineration on the beach at Komiža.
St. Nicholas' Church, once a Benedictine Abbey.
Burning a wooden boat outside St. Nicholas Church (est. c.1000 AD)
The statue of St. Nicholas being carried in procession.
The mambabasa (chanters) chanting the Passion of Christ in front of the images of the non-processional Santo Entierro (left) and the Nazareno of the Tercera Caida(right).
The carrozas that carry the images waiting in the courtyard of the church at Cabiao before the start of the procession.
The images of Christ and the angel from the carroza of The Agony in the Garden were carved by Adrian Cristobal.
The Nazareno of the Tercera Caida being prepared for the Holy Wednesday procession.
The silver carroza of Saint John is decorated with lotus flower motifs.
The silver carroza of Our Lady of Sorrows being prepared for the Holy Wednesday procession.
A child dressed as an angel lifts the mourning veil of Our Lady during the Salubong ('encounter'), the early morning procession on Easter Sunday.
The carroza of the Santo Entierro is decorated with sampaguita garlands in preparation for the Good Friday procession.
Windy clouds over Mount Montseny.
Wind from the land (Vent Terral).
S.W. wind seen from the fishing boat Tramuntana.
Wall of cloud in the east.
Windy day seen from the fishing boat Tramuntana.
Two fishermen in the tavern at the Port of Arenys.
White horses (Esqueixalls.
Srimpi Gondokusumo danced at SMKN8 (SMKI), Surakarta, Indonesia on November 26th, 2006.The Ridong Trap Dahi movement.
A falconer wearing traditional dress, on horseback with his eagle.
The opening ceremony of the 2012 Golden Eagle Festival.
Scanning the countryside for prey, 2011.
An eagle with the fox it has just caught.
A scene from the field research project on the Dolgan language in Yakutsk, Sakha.
Center for Language Diversity – the ASK REAL digital archive.
A performance by one of the participating groups on the stage in the exhibition.
A visual showing someone from one of the participating communities.
A space where visitors could listen to versions of Arirang.
A display of products which bear the brand name ‘Arirang’.
The chanting procession, with the women, taking part, going to the exhibition hall of the Don Bosco Museum of Cultures.
The moment before the human remains were placed in the ‘path of the souls’ showcase.
Agostinho Eibajiwu and Ailton Meri Ekureu sing and dance around the human remains in the entrance hall of the Don Bosco Museum of Cultures.
Liberio Uiagomeareu, Kleber Meri Tororeu and Orlando Kuira preparing the human remains for the chanting ritual in the entrance hall of the Don Bosco Museum of Cultures.
The chief chanter, Helinho Kuruguga, performing the Roia Kurireu (the great chant).
The ‘path of the souls’, the imaginary line that divides a village into north and south, represented by a showcase in the exhibition hall.
Boy trying out a new accordion at the Tejano Conjunto Festival en San Antonio.
Juan Tejeda shows off the annual institution he created, at the Tejano Conjunto Festival en San Antonio.
Two musicians informally jamming at the Tejano Conjunto Festival en San Antonio.
Father and son jam with bajo sexto and accordion at the Tejano Conjunto Festival en San Antonio.
Large pieces of quartz are baked in the kiln, then broken into tiny pieces and sieved to obtain fragments of three different sizes.
Nisa’s inlaid ceramics were traditionally used for water, but nowadays they are produced mainly for decorative purposes.
Drawing the decorative motifs in the wet clay with a needle and other instruments is the responsibility of the more experienced pedradeiras’
Large pots take a long time to decorate, so they are wrapped in plastic to ensure that the clay will not dry out too quickly.
Mrs. Vera Hubicki, the gingerbread maker from Marija Bistrica, Croatia.
Mr. Vilko Kukec, a trough maker from the village of Selnica Gornja, Croatia
Exhibition opening at the new Centre for Traditional Crafts in Ptuj, Slovenia.
Detail of George Price's regular Quaker Sweat ritual site.
George Price and young Quakers assembling the framework for a Quaker Sweat Lodge Philadelphia yearly meeting. 2009
A covered inipi from a new age ritual in Italy.
People beating drums and gongs and conducting the morning Yu-kui. One of the men is the principal of Taketomi primary school.
Tourists learning to paint Patachitra at the POT Maya festival in village of the Patuas.
A newly refurbished tea-house in the delta town of Xinchang. Tea-houses were popular sites for the performance of storytelling and songs in the imperial era.
A boat singer in the ‘water town’ of Zhou Zhuang, now a popular tourist destination for Shanghai residents.
‘Duck Village’ (Yacheng), Dongting, believed to be the original site for Wu songs in antiquity.
Fresco technique workshop in Alamos. Artwork by Elena Valdes.
Descendance Aboriginal and Torre Strait Islanders Dance Theatre, Indigenous people Honouring the Past, Presence and Future 17 May 2006.
Master blacksmith Terry Drennan working at the Cobb+Co Museum
Student using traditional hand-powered gem-cutting machine
Kim Walmsley modern indigenous artist working on a project at the Cobb+Co Museum
Gomoa Dago No. 2 Dentsefo Posuban.
Dwennimmen.This is a symbol of humility and strength, wisdom and learning.
An adinkra symbol saying Nyame, biribi wo suru na ma me nsanka, meaning, “God, there is something in heaven, let me receive it."
Obi nka obi, “no one bites the other” meaning, friends must live in peace.
Osua otow ma ne nsa bo su, meaning “the monkey jumps only as far as it can,”
Mate masie, signifying wisdom, knowledge and prudence.
Akuapem Omanhene Stool representing past Okuapehenfo, Akropong, 2001
Cast brass in a proverb ‘funtumirefunu denkyemmirefunu’ is also a symbol of unity in diversity.
Akuapem Omanhene Stool representing past Okuapehenfo, Akropong, 2001
An adinkra symbol saying Onyame nwu na me awu, meaning,“God does not die therefore I shall not die."
An Adinkra symbol saying Obi nforo owo antwere nsan, meaning, ”no one climbs the ladder of death and returns.“
Abofraba tsew muko a oka n’enyiwa, meaning “when a child picks peppers it gets into its eyes,”
The Okuapehene’s spokesperson speaking, Akropong Akuapem
Young musician performing in a Northumbrian Smallpipe competition in Alnwick, Northumberland
John Ole Tingoi facilitating the WIPO and ILO consultation with the community, Il Ngwesi.
Cultural demonstrators performing a traditional dance at the museum.
Part of the Dark Room (Cosmocentric System) exhibition, showing some Zodiac constellations
An early 1920s telescope observatory building: part of MAST’s historic site and collection.
Mekaton, a ceremonial hat of the Kapayo of southern Para. It shows what they knew of the sky and of their mythical origins.
Part of the White Room (Geocentric System). The frieze above shows paintings of the planetary system as it was understood in the Middle Ages, while below there are paintings of the seasons and monthly activities, (all reproduced from illustrations in the Les tres riches heures du Duc de Berry)
Students studying the unit on the Sun in the outdoor exhibition
Interactive exhibit in the Astronomy exhibition showing the sky as seen from the southern hemisphere
Guarani representations of some of the constellations of their sky on the wall of a village school.
Front of the main Brazilian National Observatory building of 1909, Rio de Janeiro - since 1985 the headquarters of the Museum of Astronomy and Related Sciences (MAST)
Aerial view of part of the MAST site showing five of the historic telescope observatory buildings
The Opi (house of praying), the most important building: this is the heart, both social and religious, of any Guarani village.
A sky-wheel: one is found in the house of every Wayana (a group living in Amapa, north of Brazil).
The starting point of the outdoor exhibition on the Solar System
The Guarani School, Tekoa Itatim, in Paraty, Rio de Janeiro.
Diagram showing part of the UK’s Moving Here -200 Years of Migration Network.
One of Nampeyo’s pots showing a unique design that has never been repeated, Oslo collection UEM13602.
Logo of the DEKKMMA-project, symbolising the digitisation of the African music archive
Time line presenting the development of Afrikaans in the media
The name of holiday homes, pinned like washing on a line
Plaster poetry: words and letters with magnets to build sentences or poetry
Board with riddles and answers behind the little doors
Each exhibit was accompanied by a relative short story which was written by the students.
Example of a photo-mosaic depicting the cultural environment from which children are derived
An immigrant student describes the trip of an immigrant who travelled from Skiathos to United States in 1895.
An immigrant informant narrates her own life story in the school class.