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
Hermano mayor: fiesta sponsorship in the contemporary Philippines
Between People and Place: Folklore Pertaining to the Natural Environment in a Farming Community in Argao, Cebu
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
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
Panaad and the Paril: Traditional Systems of Soil and Water Conservation in Cebu, the Philippines
Brief biographies of the Authors
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
Common Histories, Constructed Identities: Intangible Cultural Heritage and the Rebranding of Serbia
Instructions to contributors
Instructions to contributors
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
The System of Sponsorship for Processional Images and the Traditions Associated with them in Cabiao, Nueva Ecija, the Philippines
The Documentation of Endangered Altaic Languages and the Creation of a Digital Archive to safeguard linguistic diversity
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.
Participants showing traditional dishes they have prepared for the cooking competition.
Traditional dances performed by school children from nearby schools.
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.
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.
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.
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.
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.
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.
The horse riders -mayorals- enter the crowded village streets on horseback, followed by bulls. Segorbe, Castellón.
The pilgrims of les Useres resting before entering the village after the pilgrimage to Sant Joan de Penyagolosa, 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 ball pla traditional dancing is celebrated each year in the old bullfighting court of the village of Benassal, Castellón.
Semi-structured interviews and gesture filming, Garlic Theatre, Norwich.
Fieldwork and in-depth semi-structured interviews, Edinburgh International Festival.
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.
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.
Uriaieke taking a photo of an OmuHimba woman in front of a traditional dwelling.
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.
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.
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 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 Carroza depicting the scourging of Jesus Christ at the pillar.
An example of a Belen featuring the whole Christmas story and other importantevents in the life of Jesus Christ.
One of the author’s informants, now in her 50s, as a ‘flower angel’.
The group of angels and the seminarian assigned to the parish after the end-of-May procession.
Rug making at Pirot, Biznis & Finansije, January, 2015. Source: http://bif.rs/
A Pirotski Kilim - a traditional Serbian carpet, Ethnographic Museum, Belgrade.
Opanak making demonstration at the Belgrade International Tourism Fair in 2015.
Impression of the semi-rural township of Inanda, north of Durban (eThekwini Municipality).
A male student (UAEU) showing a hard copy of an online article on Emirati folk heritage.
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.
Royal festivities in Foumban, Cameroon.
Angklung Buhun played by the residents of Kanekes Village, Banten Province, Indonesia.
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.
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 silver carroza of Our Lady of Sorrows being prepared for the Holy Wednesday procession.
The carroza of the Santo Entierro is decorated with sampaguita garlands in preparation for the Good Friday 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 silver carroza of Saint John is decorated with lotus flower motifs.
The carrozas that carry the images waiting in the courtyard of the church at Cabiao before the start of the procession.
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.
Center for Language Diversity – the ASK REAL digital archive.
A scene from the field research project on the Dolgan language in Yakutsk, Sakha.