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’
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
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
‘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*
Hermano mayor: fiesta sponsorship in the contemporary Philippines
Documenting an endangered Cambodian musical tradition: Unexpected findings on the provenance of the British Museum’s “Asset 1380796001”
Between People and Place: Folklore Pertaining to the Natural Environment in a Farming Community in Argao, Cebu
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
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
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
Contemporising Custom: the re-imagining of the Mari Lwyd
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
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
Classical Horsemanship and the Dangers of the Emergent Intangible Cultural Heritage Authorised Discourse
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
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
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
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
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
Fresco: intangible heritage as a key to unlocking the links between the conservation of biological and cultural diversity in Alamos
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
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.
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.
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.
Sheila Kay Adams, story teller, banjo player and NEA Heritage Fellowship recipient.
Hot 8 Brass band at a New Orleans funeral.
Preparing for local ceremony, Kosrae, Federated States of Micronesia.
Hula performance, Hawaii Volcanoes National Park.
A glimpse of the interior of a 1960s unit, Hong Kong Housing Authority Exhibition Centre.
A comparison between the real object (left) and our 3D model (right).
Footage from our shadowing-capture, from both the stationary and handheld cameras.
Footage from our evaluation with the joiner (left) and the carpenter (middle).
Footage from the video viewing, with the joiner viewing our edited shadowing footage on a laptop and commenting on it.
Fieldwork and in-depth semi-structured interviews, Edinburgh International Festival.
Semi-structured interviews and gesture filming, Garlic Theatre, Norwich.
Yogang, Juklim village, Gyeongcheon-myeon, Wanju-gun, belonging to Jung-sul Park (71 years old).
Cotton clothing, Bibong village, Gyeongcheon-myeon, Wanju-gun made by Yeoung-sun Yu (80 years old).
Hemp pants made by Chun-chak Yi (81 years old) Sungjae village, Gosan-myeon, Wanju-gun.
Duri persimmons, Wanju-gun, Gosan-myeon, Daehyang village.
Wedding vow written by Jae-deok Kim, 1959.
Towel, Bibong village, Gyeongcheon-myeon,Wanju-gun made by Yeong-sun Yu (80 years old).
A jak-du, Juk-dong Village, Hwasan-myeon,Wanju-gun, owned by Bang-rye Kwon (84 years old).
Group interview at Gujae Village Hall in Gyeongcheon-myeon, Wanju-gun.
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.
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.
Los Angeles St. David’s Day Festival, 2013
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
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 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 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.
Water Babies found at Catstair Canyon.
The Entrance to Catstair Canyon.
The pilgrims’ first view of Kavaicuwac.
View of Kavaicuwac with Kavaicuwac Paayuxwitse in the Foreground.
Fishermen catching webfoot octopuses in the morning ebb tide.
Fishermen hauling in shrimp nets to dry during neap tides.
Fisherwoman carrying a skimming net with shrimps in her hand.
Fisherwoman catching akiami paste shrimps near the coast at the low tide.
Sea foam on the rising tide early in the morning in summer.
An exhibition at the Hangzhou Arts and Crafts Museum Master Workshop ofthe ACMC.
A scene in the Knives, Scissors, and Swords Museum of the 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.
The Lefkara embroidery workshop at the Cyprus Handicraft Service building.
Examples of Julia Astreou-Christophorou’s work displayed at her workshop-cumshowroom.
The 2015 Lefkara embroidery short course of the Cyprus National Commissionfor UNESCO.
Some of the finished products on display at the Cyprus Handicraft Centre.
Mare Nostrum and Lefkaritiko [oil on canvas and cotton thread] by NitsaHadjigeorgiou.
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.
Berber women milling, pit-cracking and pressing are depicted on a cooperative’s wall.
A pounder and an anvil are needed for de-pulping.
Pits have to be cracked open with a hammer stone to retrieve the kernels inside.
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.
Oil extraction machines produce argan oil efficiently.
Argan oil soaps and moisturisers are popular souvenirs for tourists.
Argan trees are frequently climbed on by goats.
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.
Pressing is consistently kneading the dough until the emulsion separates from the solid dough. The emulsion is then decanted and filtered
From left to right: dried argan fruits, pits and kernels.
An example of the type of horse used in the Renaissance development of classical horsemanship.
Squires and dressage horses assembled, Cadre Noir, France.
Training of Eleve, Spanish Riding School, Austria.
Performing the Courbette, Cadre Noir, France.
Eleves at work, Spanish Riding School, Austria.
Homecoming of the Colts , Spanish Riding School, Austria.
Sufiana artists playing the Tabla and Sehtar from Qaleenbaft Gharana.
The Barbados Landship performing the maypole in theCity of Bridgetown as seen in this 35th anniversarycommemorative stamp.
These dancers perform the Landship at the Crop Over Awards ceremony in 2013.
The Pinelands Creative Workshop children performing Landship at NIFCA.
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.
Students visiting the Light is History ‘contact zone’ inHakaniemi Market Square, Helsinki.
Children and community participants at a digitisation workshopat the Gallen-Kallela Museum.
Archive of contemporary artefacts from the community,accompanied by personal narratives.
Rangthang and jangpa grinding flour.
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 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.
The skulls of sacrificed mithuns are hung on the walls of houses to demonstrate the wealth of the household.
Idu children in traditional dress.
Pachu Pulu, an igu (priest) conducting a ritual during the Reh festival in February 2014.
An Idu woman at her loom.
Mayan names.Photo: by permission of Eva Chaire, October 2013.
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’.
The dough is wrapped in banana leaves.
Covering the earth oven to cook the pibipollos.
Wooden cross on top of bones.
Parish Church of the Immaculate Conception of the Virgin Mary.
Mrs Rosa Yam showing a hipil.
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.
Ornamented wooden panel carved using traditional techniques and tools.
Carving motifs on the niche using traditional techniques and tools.
Building master working on the model of the carved-out settlementin tuff stone using traditional techniques and tools.
Ornamented niche carved in tuff stone 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.
Master and apprentice drawing motifs on the flat wooden panel.
Traditional fireplace embellished with geometricmotifs carved in tuff stone using traditionaltechniques and tools.
Student carving the capital of a marble column using traditional techniques and tools.
Street parade during the first ICCN Festival.
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.
Ceremony at Neak Poan – praying for rain, day 1 of the ceremony.
Angkor Wat, aerial and general views.
Ceremony at Neak Poan - praying for rain, day 2 of the ceremony.
Neak Poan and its water basins.
Fishing in the North Baray.
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.
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.
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.
Techno Nezha dancing to heavy electronic dance music.
Techno Nezhas riding motorcycles through the streets.
Crowds gather at Sinying Taizih Temple for the ceremony.
Nezhas wearing big modern triangular glasses.
Followers have given Nezha white gloves to wear which look very cute.
Techno Nezha patrolling the street wearing modern dress.
On the way to visit the shrine after Eid prayers.
Showing the enduring relationship the Suakinese have with the sea.
A local boat building yard.
A congregation attending Eid prayers.
An example of an old house in Suakin showing the fine woodwork.
Locally made, vibrantly coloured boats.
Showing the enduring relationship the Suakinese have with the sea.
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.
A closed community meeting to discuss the division of an electricity bill.
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.
Irrigation channels in a multi-crop garden.
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).
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).
The Village Kermis (1567), also known as The Peasant Dance, 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.
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.
Kok-Bal (traditional wrestling on horseback) at the Ulgii Festival in 2012.
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.
Tuna fishing - a reflection by Salvador Dali on the struggle between Man and Nature along the Iberian Mediterranean coast. (304 x 404 cms)
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.
Barbados one dollar coin.
Tinted engraving of flying fish, Stewart.
Logo of the Barbados Tourist Authority.
Fish processor at Oistins fish market.
A four-winged flying fish.
Boat with screelers and gill net.
Flying fish sculpture at the Grantley Adams International Airport.
Feature entitled ‘The cutest hair arrangements for novice Yukata wearers’.
At the Bingata artist event, Sachiko Yafuso (right), a craftswoman, explains how to make Bingata.
Cover of Kimono-salon, Spring 2011, featuring a popular TV anchor-woman in a kimono.
Raglan Under Siege - digital content options available through the Layar augmented reality application.
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.
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).
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.
Demonstration of fine ramie weaving, Hansan regon in South Chungcheong Province. Photo: Seocheon County Hall.
Wooden boats chosen for incineration on the beach at Komiža.
St. Nicholas' Church, once a Benedictine Abbey.
Three boats burning in front of St. Nicholas' Church.
The statue of St. Nicholas being carried in procession.
Burning a wooden boat outside St. Nicholas Church (est. c.1000 AD)
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 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.
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 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 carrozas that carry the images waiting in the courtyard of the church at Cabiao before the start of the procession.
The silver carroza of Saint John is decorated with lotus flower motifs.
Windy clouds over Mount Montseny.
Wall of cloud in the east.
Wind from the land (Vent Terral).
S.W. wind seen from the fishing boat Tramuntana.
Windy day seen from the fishing boat Tramuntana.
White horses (Esqueixalls.
Two fishermen in the tavern at the Port of Arenys.
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.
Scanning the countryside for prey, 2011.
The opening ceremony of the 2012 Golden Eagle Festival.
An eagle with the fox it has just caught.
Center for Language Diversity – the ASK REAL digital archive.
A scene from the field research project on the Dolgan language in Yakutsk, Sakha.
The chanting procession, with the women, taking part, going to the exhibition hall of the Don Bosco Museum of Cultures.
The ‘path of the souls’, the imaginary line that divides a village into north and south, represented by a showcase in the exhibition hall.
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.
The chief chanter, Helinho Kuruguga, performing the Roia Kurireu (the great chant).
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.
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.
Father and son jam with bajo sexto and accordion at the Tejano Conjunto Festival en San Antonio.
Two musicians informally jamming at the Tejano Conjunto Festival en San Antonio.
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.
Part of the Dark Room (Cosmocentric System) exhibition, showing some Zodiac constellations
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
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.
Guarani representations of some of the constellations of their sky on the wall of a village school.
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.
Mekaton, a ceremonial hat of the Kapayo of southern Para. It shows what they knew of the sky and of their mythical origins.
An early 1920s telescope observatory building: part of MAST’s historic site and collection.
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)
Logo of the DEKKMMA-project, symbolising the digitisation of the African music archive
Time line presenting the development of Afrikaans in the media
Board with riddles and answers behind the little doors
Plaster poetry: words and letters with magnets to build sentences or poetry
The name of holiday homes, pinned like washing on a line
Example of a photo-mosaic depicting the cultural environment from which children are derived
An immigrant informant narrates her own life story in the school class.
Each exhibit was accompanied by a relative short story which was written by the students.
An immigrant student describes the trip of an immigrant who travelled from Skiathos to United States in 1895.