Volume 19
Oral Traditions and Expressions, Social Practices, Rituals and Festive Events
Legal protection of Intangible Cultural Heritage as a tool of sustainable development in Jordan: initiatives, challenges, and opportunities
Legal protection of Intangible Cultural Heritage as a tool of sustainable development in Jordan: initiatives, challenges, and opportunities
Northern Lights on Indigenous Intangible Heritage: a changing legal landscape in Sápmi
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
Semi-formal cultural governance and state-sponsored commercialisation in the intangible cultural heritage field: the case of Chongqing, China
UNESCO’s Convention for the Safeguarding of the Intangible Cultural Heritage and the ‘goodness criteria’
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
Heritage preservation vs. adaptation to achieve sustainability – A case study of the Fishermen’s Dances, Rizhao city, Shandong province, China
Supporting ethnic craftswomen in Chiang Mai through digital media: acknowledging the possibilities and challenges
Safeguarding manuscript-reading tradition as living heritage through ritual: mocoan tradition of an Osing family in Banyuwangi, Indonesia
‘Our Culture is dying’: Safeguarding versus representation in the implementation of the UNESCO ICH Convention
‘We paint stories we heard from our ancestors’: Intangible heritage of the Pardhan Gonds of Central India
UNESCO’s intangible cultural heritage and its polarising nature: A case study on Aalst Carnival
Uncast in stone: Inspired by absence to build a solid museum practice
Shipwrecks and graves: Their treatment as intangible heritage
Intangible cultural heritage and societal gender structures: An interview study focusing on changes in gender roles and gender restrictions in Japanese float festivals
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
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
Beyond the intangible/tangible binary: an analysis of historic built environments in Valencia, Spain
Cross-cultural understanding of Chinese traditional puppetry: integrating digital technology to enhance audience engagement
‘Grandfather Tree’: Ute Horror at the Killing of a Heritage Tree
Panaad and the Paril: Traditional Systems of Soil and Water Conservation in Cebu, the Philippines
Puha Po to Kavaicuwac: a Southern Paiute Pilgrimage in Southern Utah
Brief biographies of the Authors
Brief Biographies of the Authors
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
The Fiesta of the Patios: Intangible Cultural Heritage and Tourism in Cordoba, Spain
Brief biographies of the Authors
Ghost of the Forest: the Tangible and Intangible in Natural and 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
The value of memory: Suakin’s cultural heritage - significant for whom?
Altai Kazakh falconry as ‘heritage tourism’: the Golden Eagle Festivals of Western Mongolia
Ethnological Values and Opportunities for Establishing a Heritage Policy around Tuna-trapping in Andalusia (Spain)
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
Contemporary Falconry in Altai-Kazakh in Western Mongolia
The links between safeguarding language and safeguarding musical heritage
Fresco: intangible heritage as a key to unlocking the links between the conservation of biological and cultural diversity in Alamos
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.
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.
Graphic elements in a sand story, representing people (‘U’ shapes), a fire, artefacts, and an enclosing shelter. Drawing by Elizabeth Marrkilyi Ellis.
Hot 8 Brass band at a New Orleans funeral.
Preparing for local ceremony, Kosrae, Federated States of Micronesia.
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.
Donald Chosa Jr. Traditional rice gathering in Minnesota, Mark Sauer.
Nansemond tribal members recognised by the Commonwealth of Virginia in 1985.
Hula performance, Hawaii Volcanoes National Park.
Sheila Kay Adams, story teller, banjo player and NEA Heritage Fellowship recipient.
A glimpse of the interior of a 1960s unit, Hong Kong Housing Authority Exhibition Centre.
The ball pla traditional dancing is celebrated each year in the old bullfighting court of the village of Benassal, Castellón.
The pilgrims of Culla saying their last prayers on the journey to the historic centre of the village.
The Santantonada celebration takes place in a historic context. A huge pile of bushes is burnt in the central square of the village of Forcall, Castellón.
The pilgrims of les Useres resting before entering the village after the pilgrimage to Sant Joan de Penyagolosa, Castellón.
The horse riders -mayorals- enter the crowded village streets on horseback, followed by bulls. Segorbe, Castellón.
Fieldwork and in-depth semi-structured interviews, Edinburgh International Festival.
Semi-structured interviews and gesture filming, Garlic Theatre, Norwich.
The 2007 sign designating the Grandfather Tree as a Colorado landmark.
Enshrined portion of Grandfather Tree in front of Ute Mountain Ute Tribal Headquarters.
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.
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.
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.
Mt. Lantoy, considered a sacred site in the upland barangays of Argao. It wasdeclared a watershed forest reserve by the government of the Philippines.
A paril (stone wall structure) built to collect eroded soil.
Offerings found at Five Mile Spring.
The Entrance to Catstair Canyon.
View of Kavaicuwac with Kavaicuwac Paayuxwitse in the Foreground.
Water Babies found at Catstair Canyon.
The pilgrims’ first view of Kavaicuwac.
Stone tablets moved from the Confucian graveyard and exhibited in the museum.
Spatial pattern of Zhao Mu clusters in Confucius’ graveyard.
Confucius inscribing words on Chi-cha’s stone tablet.
Red Guards smashing the stone tablet in front of Confucius’ tomb.
Kong Qinghe walking among the five tombstones of his immediate ancestors, ranked in Zhao Mu order along the 400-year old spatial-temporal footpath.
Spatial line along the footpath marked by the tombstones of Confucius’ direct heirs.
The spatial dimension of aura shown in Confucius’ graveyard.
An example of the type of horse used in the Renaissance development of classical horsemanship.
Homecoming of the Colts , Spanish Riding School, Austria.
Eleves at work, Spanish Riding School, Austria.
Performing the Courbette, Cadre Noir, France.
Training of Eleve, Spanish Riding School, Austria.
Squires and dressage horses assembled, Cadre Noir, France.
The splendour of spring in Córdoba: water and flowers.
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.
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.
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.
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.
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.
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 ‘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.
A Pirotski Kilim - a traditional Serbian carpet, Ethnographic Museum, Belgrade.
Opanak making demonstration at the Belgrade International Tourism Fair in 2015.
Rug making at Pirot, Biznis & Finansije, January, 2015. Source: http://bif.rs/
The Great Wall of China.Photo: http://www.tuku.cn/wallpapers/view.aspx?id=6885&type=1440x900 [2015-3-25]
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.
Ornamented wooden panel carved using traditional techniques and tools.
Student carving the capital of a marble column using traditional techniques and tools.
Building master working on the model of the carved-out settlementin tuff stone using traditional techniques and tools.
Traditional fireplace embellished with geometricmotifs carved in tuff stone using traditionaltechniques and tools.
Ornamented niche carved in tuff stone using traditional techniques and tools.
Carving motifs on the niche using traditional techniques and tools.
Ornamental marble column carved using traditional techniques and tools.
Master and apprentice drawing motifs on the flat wooden panel.
Master and apprentice carving the motifs on the wooden panelusing traditional techniques and tools.
Street parade during the first ICCN Festival.
Street parade at the Gangneung Danoje festival.
Tango performance at the first ICCN Festival.
Jojeonje morning ritual at the Gangneung Danoje festival.
The International Women's Forum at the second ICCN Festival.
On the way to visit the shrine after Eid prayers.
Showing the enduring relationship the Suakinese have with the sea.
Locally made, vibrantly coloured boats.
An example of an old house in Suakin showing the fine woodwork.
Showing the enduring relationship the Suakinese have with the sea.
A local boat building yard.
A congregation attending Eid prayers.
Impression of the semi-rural township of Inanda, north of Durban (eThekwini Municipality).
The Master Komarkhan, one of the most famous eagle hunters, taken at the Ulgii Festival in 2006.
The eagle ‘recall’ contest at the Ulgii Festival in 2012.
Local shops selling traditional arts and crafts at the Ulgii Festival in 2012.
Kok-Bal (traditional wrestling on horseback) at the Ulgii Festival in 2012.
A male student (UAEU) showing a hard copy of an online article on Emirati folk heritage.
One of the family chapels of Tolimán: 18th century wall paintings and contemporary stewards.
The Peña Bernal, one of the defining natural features of the Otomi-Chichimeca region.
‘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.
Fish processor at Oistins fish market.
A four-winged flying fish.
Boat with screelers and gill net.
Tinted engraving of flying fish, Stewart.
Flying fish sculpture at the Grantley Adams International Airport.
Logo of the Barbados Tourist Authority.
Flavius Rufinus, Centurion of the Second Augustan Legion interpretative guide to Caerleon.
Raglan Under Siege - digital content options available through the Layar augmented reality application.
Reclaiming King Arthur - The Legend in the Landscape webcast.
Virtual reconstruction of Newport Ship located in the submerged part of the Medieval Newport Virtual Museum in Second Life.
The South Wales Centre for Historical and Interdisciplinary Research’s virtual home in Second Life.
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.
Royal festivities in Foumban, Cameroon.
Angklung Buhun played by the residents of Kanekes Village, Banten Province, Indonesia.
A falconer wearing traditional dress, on horseback with his eagle.
Scanning the countryside for prey, 2011.
An eagle with the fox it has just caught.
The opening ceremony of the 2012 Golden Eagle Festival.
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’
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.
Mrs. Vera Hubicki, the gingerbread maker from Marija Bistrica, Croatia.
Tourists learning to paint Patachitra at the POT Maya festival in village of the Patuas.
The public awareness of the global threat to endangered languages and other forms of intangible cultural heritage is increasing.
Australian Aboriginal children at DanceSite, Alice Springs, which each year brings together indigenous people from remote communities across Australia to celebrate their intangible heritage.
Norwegian Saami singer Mari Boine, who performed in connection with the launch of the International Year of the World's Indigenous People in 1992.
Traditional musicians take part in a parade at Uyuni, Bolivia.
Descendance Aboriginal and Torre Strait Islanders Dance Theatre, Indigenous people Honouring the Past, Presence and Future 17 May 2006.
Fresco technique workshop in Alamos. Artwork by Elena Valdes.
John Ole Tingoi facilitating the WIPO and ILO consultation with the community, Il Ngwesi.
Cultural demonstrators performing a traditional dance at the museum.