Volume 18
Social Practices, Rituals and Festive Events
UNESCO’s Convention for the Safeguarding of the Intangible Cultural Heritage and the ‘goodness criteria’
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
Adapting the Living Human Treasures idea in Flanders (Belgium): The case of craftsmanship
Safeguarding language as intangible cultural heritage
UNESCO’s intangible cultural heritage and its polarising nature: A case study on Aalst Carnival
Turkish bath tradition: The example of Gaziantep, Turkey
Safeguarding intangible cultural heritage through formal education in Flanders: A critical analysis of the implementation of the 2003 UNESCO Convention
Intangible heritage in the United States: a history of separate initiatives
Flooded Lands, Forgotten Voices: Safeguarding the Indigenous Languages and Intangible Heritage of the Nubian Nile valley
Bruegel and Burke were here! Examining the criteria implicit in the UNESCO paradigm of safeguarding ICH: the first decade
The Role of Intellectual Property in Safeguarding Intangible Cultural Heritage in Museums
Sheila Kay Adams, story teller, banjo player and NEA Heritage Fellowship recipient.
Preparing for local ceremony, Kosrae, Federated States of Micronesia.
Hula performance, Hawaii Volcanoes National Park.
Hot 8 Brass band at a New Orleans funeral.
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.
Nubian musician playing the traditional Nubian instrument - kisir
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.
ELAR archive homepage – a digital repository for Nubian documentation
The Nubian Languages and Culture Project launch poster
New Nubian social spaces in Absambal (Abu Simbel), Egypt.
The First Nubian Culture and Tourism Festival brochure
Detail from The Battle Between Carnival and Lent (1559) by Pieter Bruegel I (oil on panel).
Netherlandish proverbs (1559) also known as The Blue Cloak by Pieter Bruegel I (oil on panel).
The Village Kermis (1567), also known as The Peasant Dance, by Pieter Bruegel I (oil on panel).
Children’s Games (1560) by Pieter Bruegel I (oil on panel).
Wedding Banquet (1567) 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).
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.
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.
Angklung Buhun played by the residents of Kanekes Village, Banten Province, Indonesia.
Royal festivities in Foumban, Cameroon.
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.
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’