1. Ramlila, the traditional performance of the Ramayana
Inscribed in 2008 on the Representative List of the Intangible Cultural
Heritage of Humanity (originally proclaimed in 2005)
Ramlila, literally “Rama’s play”,
is a performance of then Ramayana epic in a series of scenes that include song,
narration, recital and dialogue. It is performed across northern India during
the festival of Dussehra, held each year according to the ritual calendar in
autumn. The most representative Ramlilas are those of Ayodhya, Ramnagar and
Benares, Vrindavan, Almora, Sattna and Madhubani. This staging of the Ramayana
is based on the Ramacharitmanas, one of the most popular storytelling forms in
the north of the country. This sacred text devoted to the glory of Rama, the
hero of the Ramayana, was composed by Tulsidas in the sixteenth century in a
form of Hindi in order to make the Sanskrit epic available to all. The majority
of the Ramlilas recount episodes from the Ramacharitmanas through a series of
performances lasting ten to twelve days, but some, such as Ramnagar’s, may last
an entire month. Festivals are organized in hundreds of settlements, towns and
villages during the Dussehra festival season celebrating Rama’s return from
exile. Ramlila recalls the battle between Rama and Ravana and consists of a
series of dialogues between gods, sages and the faithful. Ramlila’s dramatic
force stems from the succession of icons representing the climax of each scene.
The audience is invited to sing and take part in the narration. The Ramlila
brings the whole population together, without distinction of caste, religion or
age. All the villagers participate spontaneously, playing roles or taking part
in a variety of related activities, such as mask- and costume making, and
preparing make-up, effigies and lights. However, the development of mass media,
particularly television soap operas, is leading to a reduction in the audience
of the Ramlila plays, which are therefore losing their principal role of
bringing people and communities together.
2. Tradition of Vedic chanting
Inscribed in 2008 on the Representative List of the Intangible Cultural
Heritage of Humanity (originally proclaimed in 2003)
The Vedas comprise a vast corpus of
Sanskrit poetry, philosophical dialogue, myth, and ritual incantations
developed and composed by Aryans over 3,500 years ago. Regarded by Hindus as
the primary source of knowledge and the sacred foundation of their religion,
the Vedas embody one of the world’s oldest surviving cultural traditions. The
Vedic heritage embraces a multitude of texts and interpretations collected in
four Vedas, commonly referred to as “books of knowledge” even though they have
been transmitted orally. The Rig Veda is an anthology of sacred hymns; the Sama
Veda features musical arrangements of hymns from the Rig Veda and other
sources; the Yajur Veda abounds in prayers and sacrificial formulae used by
priests; and the Atharna Veda includes incantations and spells. The Vedas also
offer insight into the history of Hinduism and the early development of several
artistic, scientific and philosophical concepts, such as the concept of zero.
Expressed in the Vedic language, which is derived from classical Sanskrit, the
verses of the Vedas were traditionally chanted during sacred rituals and
recited daily in Vedic communities. The value of this tradition lies not only
in the rich content of its oral literature but also in the ingenious techniques
employed by the Brahmin priests in preserving the texts intact over thousands
of years. To ensure that the sound of each word remains unaltered,
practitioners are taught from childhood complex recitation techniques that are
based on tonal accents, a unique manner of pronouncing each letter and specific
speech combinations. Although the Vedas continue to play an important role in
contemporary Indian life, only thirteen of the over one thousand Vedic
recitation branches have survived. Moreover, four noted schools – in
Maharashtra (central India), Kerala and Karnataka (southern India) and Orissa
(eastern India) – are considered under imminent threat.
3. Kutiyattam, Sanskrit
theatre
Inscribed in 2008 on the Representative List of the Intangible Cultural
Heritage of Humanity (originally proclaimed in 2001)
Kutiyattam, Sanskrit theatre,
which is practised in the province of Kerala, is one of India’s oldest living
theatrical traditions. Originating more than 2,000 years ago, Kutiyattam
represents a synthesis of Sanskrit classicism and reflects the local traditions
of Kerala. In its stylized and codified theatrical language, neta abhinaya (eye
expression) and hasta abhinaya (the language of gestures) are prominent. They
focus on the thoughts and feelings of the main character. Actors undergo ten to
fifteen years of rigorous training to become fully-fledged performers with
sophisticated breathing control and subtle muscle shifts of the face and body.
The actor’s art lies in elaborating a situation or episode in all its detail.
Therefore, a single act may take days to perform and a complete performance may
last up to 40 days. Kutiyattam is traditionally performed in theatres called
Kuttampalams, which are located in Hindu temples. Access to performances was
originally restricted owing to their sacred nature, but the plays have
progressively opened up to larger audiences. Yet the actor’s role retains a
sacred dimension, as attested by purification rituals and the placing of an oil
lamp on stage during the performance symbolizing a divine presence. The male
actors hand down to their trainees detailed performance manuals, which, until
recent times, remained the exclusive and secret property of selected families.
With the collapse of patronage along with the feudal order in the nineteenth
century, the families who held the secrets to the acting techniques experienced
serious difficulties. After a revival in the early twentieth century,
Kutiyattam is once again facing a lack of funding, leading to a severe crisis
in the profession. In the face of this situation, the different bodies
responsible for handing down the tradition have come together to join efforts
in order to ensure the continuity of this Sanskrit theatre.
4. Ramman, religious
festival and ritual theatre of the Garhwal Himalayas, India
Inscribed in 2009 on the Representative List of the Intangible Cultural
Heritage of Humanity
Every year in late April, the
twin villages of Saloor-Dungra in the state of Uttarakhand (northern India) are
marked by Ramman, a religious festival in honour of the tutelary god, Bhumiyal
Devta, a local divinity whose temple houses most of the festivities. This event
is made up of highly complex rituals: the recitation of a version of the epic
of Rama and various legends, and the performance of songs and masked dances.
The festival is organized by villagers, and each caste and occupational group
has a distinct role. For example, youth and the elders perform, the Brahmans
lead the prayers and perform the rituals, and the Bhandaris – representing
locals of the Kshatriya caste – are alone entitled to wear one of the most
sacred masks, that of the half-man, half-lion Hindu deity, Narasimha. The
family that hosts Bhumiyal Devta during the year must adhere to a strict daily
routine. Combining theatre, music, historical reconstructions, and traditional
oral and written tales, the Ramman is a multiform cultural event that reflects
the environmental, spiritual and cultural concept of the community, recounting
its founding myths and strengthening its sense of self-worth. In order to
ensure that it remains viable, the community’s priorities are to promote its
transmission and to obtain its recognition beyond the geographical area in
which it is practised.
5. Mudiyettu, ritual theatre
and dance drama of Kerala
Inscribed in 2010 on the Representative List of the Intangible Cultural
Heritage of Humanity
Mudiyettu is a ritual dance drama
from Kerala based on the mythological tale of a battle between the goddess Kali
and the demon Darika. It is a community ritual in which the entire village
participates. After the summer crops have been harvested, the villagers reach
the temple in the early morning on an appointed day. Mudiyettu performers
purify themselves through fasting and prayer, then draw a huge image of goddess
Kali, called as ''kalam'', on the temple floor with coloured powders, wherein
the spirit of the goddess is invoked. This prepares the ground for the lively
enactment to follow, in which the divine sage Narada importunes Shiva to
contain the demon Darika, who is immune to defeat by mortals. Shiva instead
commands that Darika will die at the hand of the goddess Kali. Mudiyettu is
performed annually in ‘Bhagavati Kavus’, the temples of the goddess, in
different villages along the rivers Chalakkudy Puzha, Periyar and
Moovattupuzha. Mutual cooperation and collective participation of each caste in
the ritual instils and strengthens common identity and mutual bonding in the
community. Responsibility for its transmission lies with the elders and senior
performers, who engage the younger generation as apprentices during the course
of the performance. Mudiyettu serves as an important cultural site for
transmission of traditional values, ethics, moral codes and aesthetic norms of
the community to the next generation, thereby ensuring its continuity and
relevance in present times.
6. Kalbelia folk songs and
dances of Rajasthan
Inscribed in 2010 on the Representative List of the Intangible Cultural
Heritage of Humanity
Songs and dances are an
expression of the Kalbelia community’s traditional way of life. Once professional
snake handlers, Kalbelia today evoke their former occupation in music and dance
that is evolving in new and creative ways. Today, women in flowing black skirts
dance and swirl, replicating the movements of a serpent, while men accompany
them on the ''khanjari'' percussion instrument and the ''poongi,'' a woodwind
instrument traditionally played to capture snakes. The dancers wear traditional
tattoo designs, jewellery and garments richly embroidered with small mirrors
and silver thread. Kalbelia songs disseminate mythological knowledge through
stories, while special traditional dances are performed during Holi, the
festival of colours. The songs also demonstrate the poetic acumen of the
Kalbelia, who are reputed to compose lyrics spontaneously and improvise songs
during performances. Transmitted from generation to generation, the songs and
dances form part of an oral tradition for which no texts or training manuals
exist. Song and dance are a matter of pride for the Kalbelia community, and a
marker of their identity at a time when their traditional travelling lifestyle
and role in rural society are diminishing. They demonstrate their community’s
attempt to revitalize its cultural heritage and adapt it to changing
socioeconomic conditions.
7. Chhau dance
Inscribed in 2010 on the Representative List of the Intangible Cultural
Heritage of Humanity
Chhau dance is a tradition from
eastern India that enacts episodes from epics including the Mahabharata and
Ramayana, local folklore and abstract themes. Its three distinct styles hail
from the regions of Seraikella, Purulia and Mayurbhanj, the first two using
masks. Chhau dance is intimately connected to regional festivals, notably the
spring festival Chaitra Parva. Its origin is traceable to indigenous forms of
dance and martial practices. Its vocabulary of movement includes mock combat
techniques, stylized gaits of birds and animals and movements modelled on the
chores of village housewives. Chhau is taught to male dancers from families of
traditional artists or from local communities. The dance is performed at night
in an open space to traditional and folk melodies, played on the reed pipes
''mohuri'' and ''shehnai.'' The reverberating drumbeats of a variety of drums
dominate the accompanying music ensemble. Chhau is an integral part of the
culture of these communities. It binds together people from different social
strata and ethnic background with diverse social practices, beliefs,
professions and languages. However, increasing industrialization, economic pressures
and new media are leading to a decrease in collective participation with
communities becoming disconnected from their roots.
8. Buddhist chanting of
Ladakh: recitation of sacred Buddhist texts in the trans-Himalayan Ladakh
region, Jammu and Kashmir, India
Inscribed in 2012 on the
Representative List of the Intangible Cultural Heritage of Humanity
In the monasteries and villages
of the Ladakh region, Buddhist lamas (priests) chant sacred texts representing
the spirit, philosophy and teachings of the Buddha. Two forms of Buddhism are
practised in Ladakh – Mahayana and Vajrayana – and there are four major sects,
namely Nyngma, Kagyud, Shakya and Geluk. Each sect has several forms of
chanting, practised during life-cycle rituals and on important days in the
Buddhist and agrarian calendars. Chanting is undertaken for the spiritual and
moral well-being of the people, for purification and peace of mind, to appease
the wrath of evil spirits or to invoke the blessing of various Buddhas,
Bodhisattvas, deities and rinpoches. The chanting is performed in groups,
either sitting indoors or accompanied by dance in monastery courtyards or
private houses. The monks wear special costumes and make hand gestures (mudras)
representing the divine Buddha, and instruments such as bells, drums, cymbals
and trumpets lend musicality and rhythm to the chanting. Acolytes are trained
under the rigorous supervision of senior monks, reciting texts frequently until
they are memorized. Chants are practised everyday in the monastic assembly hall
as a prayer to the deities for world peace, and for the personal growth of the
practitioners.
9. Sankirtana, ritual
singing, drumming and dancing of Manipur
Inscribed in 2013 on the Representative List of the Intangible Cultural
Heritage of Humanity
Sankirtana encompasses an array
of arts performed to mark religious occasions and various stages in the life of
the Vaishnava people of the Manipur plains. Sankirtana practices centre on the
temple, where performers narrate the lives and deeds of Krishna through song
and dance. In a typical performance, two drummers and about ten singer-dancers
perform in a hall or domestic courtyard encircled by seated devotees. The
dignity and flow of aesthetic and religious energy is unparalleled, moving
audience members to tears and frequently to prostrate themselves before the
performers. Sankirtana has two main social functions: it brings people together
on festive occasions throughout the year, acting as a cohesive force within
Manipur’s Vaishnava community; and it establishes and reinforces relationships
between the individual and the community through life-cycle ceremonies. It is
thus regarded as the visible manifestation of God. The Sankirtana of Manipur is
a vibrant practice promoting an organic relationship with people: the whole
society is involved in its safeguarding, with the specific knowledge and skills
traditionally transmitted from mentor to disciple. Sankirtana works in harmony
with the natural world, whose presence is acknowledged through its many rituals.
10. Traditional brass and
copper craft of utensil making among the Thatheras of Jandiala Guru, Punjab,
India
Inscribed in 2014 on the
Representative List of the Intangible Cultural Heritage of Humanity
The craft of the Thatheras of
Jandiala Guru constitutes the traditional technique of manufacturing brass and
copper utensils in Punjab. The metals used – copper, brass and certain alloys –
are believed to be beneficial for health. The process begins with procuring
cooled cakes of metal that are flattened into thin plates and then hammered
into curved shapes, creating the required small bowls, rimmed plates, to larger
pots for water and milk, huge cooking vessels and other artefacts. Heating the
plates while hammering and curving them into different shapes requires careful
temperature control, which is achieved by using tiny wood-fired stoves (aided
by hand-held bellows) buried in the earth. Utensils are manually finished by
polishing with traditional materials such as sand and tamarind juice. Designs
are made by skilfully hammering a series of tiny dents into the heated metal.
Utensils may be manufactured for ritual or utilitarian purposes, both for
individual and community use on special occasions such as weddings or at
temples. The process of manufacturing is transmitted orally from father to son.
Metalwork is not simply a form of livelihood for Thatheras, but it defines
their family and kinship structure, work ethic and status within the social
hierarchy of the town.
11. Yoga
Inscribed in 2016 on the Representative
List of the Intangible Cultural Heritage of Humanity
The philosophy behind the ancient
Indian practice of yoga has influenced various aspects of how society in India
functions, whether it be in relation to areas such as health and medicine or
education and the arts. Based on unifying the mind with the body and soul to
allow for greater mental, spiritual and physical wellbeing, the values of yoga
form a major part of the community’s ethos. Yoga consists of a series of poses,
meditation, controlled breathing, word chanting and other techniques designed
to help individuals build self-realization, ease any suffering they may be
experiencing and allow for a state of liberation. It is practised by the young
and old without discriminating against gender, class or religion and has also
become popular in other parts of the world. Traditionally, yoga was transmitted
using the Guru-Shishya model (master-pupil) with yoga gurus as the main
custodians of associated knowledge and skills. Nowadays, yoga ashrams or
hermitages provide enthusiasts with additional opportunities to learn about the
traditional practice, as well as schools, universities, community centres and
social media. Ancient manuscripts and scriptures are also used in the teaching
and practice of yoga, and a vast range of modern literature on the subject
available.
12. Nawrouz, Novruz, Nowrouz, Nowrouz, Nawrouz, Nauryz, Nooruz,
Nowruz, Navruz, Nevruz, Nowruz, Navruz
Afghanistan, Azerbaijan, India,
Iran (Islamic Republic of), Iraq, Kazakhstan, Kyrgyzstan, Uzbekistan, Pakistan,
Tajikistan, Turkmenistan and Turkey
Inscribed in 2016 on the Representative List of the Intangible Cultural
Heritage of Humanity
New Year is often a time when
people wish for prosperity and new beginnings. March 21 marks the start of the
year in Afghanistan, Azerbaijan, India, Iran (Islamic Republic of), Iraq,
Kazakhstan, Kyrgyzstan, Pakistan, Tajikistan, Turkey, Turkmenistan and
Uzbekistan. It is referred to as Nauryz, Navruz, Nawrouz, Nevruz, Nooruz,
Novruz, Nowrouz or Nowruz meaning ‘new day’ when a variety of rituals,
ceremonies and other cultural events take place for a period of about two
weeks. An important tradition practised during this time is the gathering
around ‘the Table’, decorated with objects that symbolize purity, brightness,
livelihood and wealth, to enjoy a special meal with loved ones. New clothes are
worn and visits made to relatives, particularly the elderly and neighbours.
Gifts are exchanged, especially for children, featuring objects made by
artisans. There are also street performances of music and dance, public rituals
involving water and fire, traditional sports and the making of handicrafts.
These practices support cultural diversity and tolerance and contribute to
building community solidarity and peace. They are transmitted from older to
younger generations through observation and participation.
13. Kumbh Mela
Inscribed in 2017 on the Representative List of the Intangible Cultural
Heritage of Humanity
Kumbh Mela (the festival of the
sacred Pitcher) is the largest peaceful congregation of pilgrims on earth,
during which participants bathe or take a dip in a sacred river. Devotees
believe that by bathing in the Ganges one is freed from sins liberating her/him
from the cycle of birth and death. Millions of people reach the place without
any invitation. The congregation includes ascetics, saints, sadhus,
aspirants-kalpavasis and visitors. The festival is held at Allahabad, Haridwar,
Ujjain and Nasik every four years by rotation and is attended by millions of
people irrespective of caste, creed or gender. Its primary bearers, however,
belong to akhadas and ashrams, religious organizations, or are individuals
living on alms. Kumbh Mela plays a central spiritual role in the country,
exerting a mesmeric influence on ordinary Indians. The event encapsulates the
science of astronomy, astrology, spirituality, ritualistic traditions, and
social and cultural customs and practices, making it extremely rich in
knowledge. As it is held in four different cities in India, it involves
different social and cultural activities, making this a culturally diverse
festival. Knowledge and skills related to the tradition are transmitted through
ancient religious manuscripts, oral traditions, historical travelogues and
texts produced by eminent historians. However, the teacher-student relationship
of the sadhus in the ashrams and akhadas remains the most important method of
imparting and safeguarding knowledge and skills relating to Kumbh Mela.
Credit: UNESCO