Volume 19
Social Practices, Rituals and Festive Events, Traditional Craftsmanship
Negotiating the intangible heritage of Awka traditional paraphernalia in modern society
Negotiating the intangible heritage of Awka traditional paraphernalia in modern society
Small-scale octopus fishery with clay shelter pots: intangible cultural heritage and sustainable practices
Quinceañera: a living cultural heritage safeguarding ethnic identity across borders
Portraying feminist beliefs and transcending cultural norms: Korean women artists’ reinterpretation of songs traditionally performed by men
Uncast in stone: Inspired by absence to build a solid museum practice
Wangkarra : communication and the verbal arts of Australia’s Western Desert
Intangible heritage in the United States: a history of separate initiatives
Contemporising Custom: the re-imagining of the Mari Lwyd
Crafting Collaboration: Conflict Resolution and Community Engagement in the Hangzhou Arts and Crafts Museum Cluster
Mystical Music: Safeguarding Sufiana Mausiqi - a Vanishing Art Form of Kashmir
Ghost of the Forest: the Tangible and Intangible in Natural and Cultural Heritage
Spirit of the Loom: the Conservation and Commodification of Surin's Textile Cultural Heritage
Brief biographies of the Authors
The value of memory: Suakin’s cultural heritage - significant for whom?
Altai Kazakh falconry as ‘heritage tourism’: the Golden Eagle Festivals of Western Mongolia
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 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
Tanedori of Taketomi Island: Intergenerational Transmission of Intangible Heritage.
The Difficulties of Interpreting Mediterranean Voices: Exhibiting Intangibles Using New Technologies
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’.
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.
Hula performance, Hawaii Volcanoes National Park.
Hot 8 Brass band at a New Orleans funeral.
Sheila Kay Adams, story teller, banjo player and NEA Heritage Fellowship recipient.
Preparing for local ceremony, Kosrae, Federated States of Micronesia.
Donald Chosa Jr. Traditional rice gathering in Minnesota, Mark Sauer.
Virginia string band, Ballard Branch Bogtrotters Band (1934-1942), Galax, Virginia, 1937. The types of folk traditions recorded through early federal recording efforts.
The Smithsonian Folklife Festival, 2002.
Nansemond tribal members recognised by the Commonwealth of Virginia in 1985.
The Blue Mari Lwyd, Walthamstow, organised by Lucy Gibson
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.
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.
Los Angeles St. David’s Day Festival, 2013
The Blue Mari Lwyd, Walthamstow, organised by Lucy Gibson
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 former refectory with medieval masterpieces in the Museum Catharijneconvent.
Uriaieke taking a photo of an OmuHimba woman in front of a traditional dwelling.
This shows the 3D model being evaluated by some of the women from the community.
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.
An exhibition at the Hangzhou Arts and Crafts Museum Master Workshop ofthe ACMC.
Two artisans making a pair of scissors in the WorkmanshipDemonstration Pavilion of the ACMC.
An artisan making an umbrella in the WorkmanshipDemonstration Pavilion of the ACMC.
A scene in the Knives, Scissors, and Swords Museum of the ACMC.
Sufiana artists playing the Tabla and Sehtar from Qaleenbaft Gharana.
A panel discussion about heritage archives in progress during a community theme day.
Archive of contemporary artefacts from the community,accompanied by personal narratives.
Students visiting the Light is History ‘contact zone’ inHakaniemi Market Square, Helsinki.
Children and community participants at a digitisation workshopat the Gallen-Kallela Museum.
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.
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)
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.
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 Passenger pigeon migrated in immense flocks in search of food. This may still affect the species composition of some forests.
Whale skeletons found in Wadi al-Hitan, Egypt, give us an insight into these creatures’ anatomy but their behaviour remains unknown to us.
A Jor or bamboo basket with tiny holes to hold silk cocoons.
Silks with designs like those for the Khmer royal court.
Surachote Tamcharoen teaching a woman to dye with indigo.
On the way to visit the shrine after Eid prayers.
An example of an old house in Suakin showing the fine woodwork.
A local boat building yard.
Showing the enduring relationship the Suakinese have with the sea.
A congregation attending Eid prayers.
Showing the enduring relationship the Suakinese have with the sea.
Locally made, vibrantly coloured boats.
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.
The Master Komarkhan, one of the most famous eagle hunters, taken at the Ulgii Festival in 2006.
Local shops selling traditional arts and crafts at the Ulgii Festival in 2012.
Reclaiming King Arthur - The Legend in the Landscape webcast.
The South Wales Centre for Historical and Interdisciplinary Research’s virtual home in Second Life.
Flavius Rufinus, Centurion of the Second Augustan Legion interpretative guide to Caerleon.
Virtual reconstruction of Newport Ship located in the submerged part of the Medieval Newport Virtual Museum 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.
Casgliad y Werin Cymru/ People's Collection Wales Hub on the Digital Heritage Zone in Second Life.
Certificate of authentication used by the collective of Fine Ramie Weavers of Hansan Region (모시).
Demonstration of fine ramie weaving, Hansan regon in South Chungcheong Province. Photo: Seocheon County Hall.
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.
Angklung Buhun played by the residents of Kanekes Village, Banten Province, Indonesia.
Royal festivities in Foumban, Cameroon.
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 silver carroza of Saint John is decorated with lotus flower motifs.
The Nazareno of the Tercera Caida being prepared for the Holy Wednesday procession.
The images of Christ and the angel from the carroza of The Agony in the Garden were carved by Adrian Cristobal.
The carrozas that carry the images waiting in the courtyard of the church at Cabiao before the start of the 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.
The silver carroza of Our Lady of Sorrows being prepared for the Holy Wednesday 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.
Large pieces of quartz are baked in the kiln, then broken into tiny pieces and sieved to obtain fragments of three different sizes.
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.
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’
Exhibition opening at the new Centre for Traditional Crafts in Ptuj, Slovenia.
Mrs. Vera Hubicki, the gingerbread maker from Marija Bistrica, Croatia.
Mr. Vilko Kukec, a trough maker from the village of Selnica Gornja, Croatia
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.