RESEARCH ON
ICH CONTRIBUTION TO SDGS:EDUCATION AND COMMUNITYDEVELOPMENT
PROJECT REPORT FOR FY 2020

International Research Centre
for Intangible Cultural Heritage
in the Asia-Pacific Region (IRCI),
Japan

PREFACE
The International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region(IRCI) was established in 2011 within the National institutes for Cultural Heritage (NICH), Japan,
as Category 2 Centre under the auspices of UNESCO. Since its establishment, IRCI has beenworking extensively to enhance research for the safeguarding of intangible cultural heritage(ICH) in the Asia-Pacific region through implementing research projects in cooperation withresearch institutes, museums, NGOs, and government sections within and outside the region.
This project report presents the outcomes of the first year’s works of the IRCI’s 2-year project“Research on ICH contribution to SDGs: Education and Community Development” that was
launched in FY 2020 to investigate the contribution of ICH to Sustainable Development Goals(SDGs), specifically SDG 4 (Quality of education) and SDG 11 (Sustainable Cities andCommunities), including the case study reports of 3 NGOs, the results of international
symposium that was held online on 28-29 January in 2021. The project was commissioned by
the SDGs Platform in the framework of the “Platform for Future Co-creation of UNESCO activities”
of Ministry of Education, Culture, Sports, Science and Technology (MEXT), Japan. The first-yearof the project can see the meaningful outcomes with considerable supports and cooperationfrom both Japanese and international institutions, universities and individuals who haveparticipated in the project. IRCI would like to express sincere gratitude to those who haveprovided their painstaking work and support to our project despite the COVID-19 pandemic.
First, the research team of Dhaka Ahsania Mission (DAM) in Bangladesh has worked hardwith cultural practitioners of Dhamail, community leaders, youth, educators and local
government members to obtain candid opinions through discussions interviews andquestionnaires in 4 Unions under 4 Upazilas of Sunamganji District in Sylhet Division.
Secondly, members of Dewi Fortuna Community Learning Center (DFCLC) in Indonesia has
made outstanding efforts on the case study, including interviews and questionnaires to
educators, students, their parents as well as communities in Klaten to find out contributions of
Kethoprak to non-formal education and community development.
Thirdly, researchers of Taalim-Forum Public Foundation (TFPF) in Kyrgyzstan has conductedlaborious work to discover the relationship among traditional knowledge related to Kyrgyz yurt
building, education and community development. It covered from literature surveys to fieldresearch in 4 villages, including interviews and discussions with cultural practitioners, youth,
community members and experts by using both online and face-to-face to collect voices anddata and analyse them.
This report also contains the summary of the International Symposium where the outcomes
were presented and discussed on 28 – 29 January 2021. Fortunately, the research partners of
IRCI’s 2018 - 2019 project “Multi-disciplinary study on intangible cultural heritage’s contribution
to sustainable development: Focusing on education”, National Commission for Culture and theArts (NCCA) in the Philippines and members of the Vietnam Academy of Social Sciences (VASS),
the Vietnam Institutes of Educational Sciences (VNIES) and the Vietnam Museum of Ethnology(VME) participated and reported the development of the project as follow-up. Their continuous
involvement in this field is highly appreciated.

The Symposium also includes “Forum with participation of Japanese Educators and Youth”
in which Japanese educators and youth presented their case studies on ICH, education, andcommunity development.
For the educators and experts who participated to the “Forum with participation of Japanese
Educators and Youth”, including the Asia-Pacific Cultural Centre for UNESCO (ACCU), the Global
RCE Network, and the Goi Peace Foundation, IRCI offers deep and sincere gratitude for theirgenerous cooperation and dedicated involvement in our project.
This report and the project at the first year could not have been accomplished without the
intellectual supports and valuable advice of resource persons throughout the project, including
Professor Sato Masahiko of Tokyo City University, Professor Liou Lin-Yu of Nara University of
Education and Mr. Ishimura Tomo of Tokyo National Research Institute for Cultural Properties.
Their comments for this report clearly show the significance and challenges of the project. IRCI
is also extremely grateful to Ms. Duong Bich Hanh of UNESCO Bangkok Office for her warm
supports and beneficial thoughts.
I take this opportunity to thank Ministry of Education, Culture, Sports, Science andTechnology (MEXT), Japan and SDGs Platform who provided financial support.
I hope this report together with the case study reports by 3 NGOs help the researchers andeducators deepen their knowledge and stimulate further their research activities upon thecontribution of the intangible cultural heritage to quality education and community
development as well as the safeguarding of intangible cultural heritage.
February 2021
IWAMOTO Wataru
Director-General,
International Research Centre
for intangible Cultural Heritage
in the Asia-Pacific Region(IRCI)TABLE OF CONTENTS

1

2

3

4

PROJECT OVERVIEW ............................................................................................................................................. 1
1-1

Background ........................................................................................................................................................... 1

1-2

Purpose.................................................................................................................................................................. 1

SUMMARY OF THE CASE STUDY ...................................................................................................................... 3
2-1

Bangladesh ............................................................................................................................................................ 3

2-2

Indonesia ............................................................................................................................................................... 6

2-3

Kyrgyzstan .......................................................................................................................................................... 10

INTERNATIONAL SYMPOSIUM........................................................................................................................ 14
3-1

Objective ............................................................................................................................................................. 14

3-2

Presentations ..................................................................................................................................................... 14

3-4

Summary of general discussion ..................................................................................................................... 56

3-5

Forum .................................................................................................................................................................. 60

COMMENTS ............................................................................................................................................................. 97
4-1

Mr. ISHIMURA Tomo (Resource person) ................................................................................................. 97

4-3

Ms. LIOU Lin-Yu (Resource person) .........................................................................................................100

4-4

Mr. SATO Masahisa (Resource person) ...................................................................................................101

4-5

Mr. IWAMOTO Wataru ..............................................................................................................................104

APPENDIX
1. Case Study Reports
1-1. Bangladesh
1-2. Indonesia
1-3. Kyrgyzstan
2.

Documents of the International Symposium
2-1. General Information
2-2. Programme schedule
2-3. List of Participants3.

Sustainable Development Goals

ACRONYMS AND ABBREVIATIONSDAM

Dhaka Ahsania Mission in Bangladesh

DFCLC

Dewi Fortuna Community Learning Center in Indonesia

FY

Fiscal year

ICH

Intangible cultural heritage

IRCIInternational Research Centre for Intangible Cultural Heritage in the AsiaPacific Region in Japan

SDGs

Sustainable Development Goals

SLTs

School of Living Traditions

TFPF

Taalim-Forum Public Foundation in Kyrgyzstan

1

PROJECT OVERVIEW
1-1

Background
The Sustainable Development Goals (SDGs), adopted in the 70th General Assemblyof the United Nations on 25 September 2015, have gradually infiltrated in countries
around the world. Since the SDGs are the common goals shared by the international
community to realise the sustainable world, the countries have sought ways to achieve
the goals. UNESCO emphasizes potential contributions of culture, especially intangible
cultural heritage (ICH) in SDG 2 (Zero Hunger), 4 (Quality education), 5 (Gender Equality),
11 (Sustainable Cities and Communities) and 17 (Partnerships for the Goals), and put
great priority on the safeguarding of ICH in formal and non-formal education at the 12th
session of the Intergovernmental Committee in 2017. With these situations, Intangible
Cultural Heritage in the Asia-Pacific Region (IRCI) conducted the 2-year project that
testifies ICH contribution to SDG 4, mainly the target 4.7 1, starting from 2018.
The project was successfully completed in cooperation with the counterparts in thePhilippines for non-formal education and in Viet Nam for formal education by
developing the guidelines that unique ICH elements are incorporated into educational
materials and using the materials in actual teaching and learning settings in bothcounties.
Through the 2-year project 2 , IRCI found out that ICH contributes to SDG 4. The
educational materials using ICH could help learners understand the ICH itself andacquire its knowledge and skills. We further witnessed that affection towards learners’community and pride as members of their community were cultivated in the course of
the project. In formal education, ICH helped students learn not only academic subjects
but also non-cognitive skills. It is worth noted that the attempt using ICH into formal andnon-formal education could affect not only learners but also educators including culturalbearers and government officials. The project clearly proved to achieve the target 4.7
and that ICH contributes SDG 4.

1-2

PurposeAs UNESCO suggests that ICH’s potential contribution to other SDGs as well as SDG
4, IRCI will focus on another SDG, namely SDG 11, because ICH is deeply related to thecommunity where the ICH is practiced and transmitted. In order to study how learners
who receive the education related ICH contribute to their community and put theiracquired knowledge and skills into practice for community development, IRCI will launcha new 2-year project this year. The project aims to unveil relationship among ICH, SDG

1

SDG 4 target4.7: By 2030, ensure that all learners acquire the knowledge and skills needed to promote sustainable
development, including, among others, through education for sustainable development and sustainable lifestyles,
human rights, gender equality, promotion of a culture of peace and non-violence, global citizenship andappreciation of cultural diversity and of culture’s contribution to sustainable development
2 Project details: https://www.irci.jp/research/sdgs/

1

4 and SDG 11 and clarify ICH roles on quality education and community development
through a series of case studies. In cooperation with NGOs in Bangladesh, Indonesia andKyrgyzstan, IRCI will analyse good practices that combine ICH, education and community
development to testify ICH’s contribution to SDGs and utilise the outcomes for
safeguarding ICH effectively.
In addition, through the International Symposium including the Forum withJapanese educators and youth, IRCI provides an opportunity for both international andJapanese experts and researchers to share their research activities and discuss future
perspectives on ICH research. The project also helps them deepen their knowledge
with regards to the relationship between ICH and SDGs and eventually contributeto effective ICH safeguarding in the Asia-Pacific region.

It also expects to build and enhance a network of researchers in the ICH related
fields in the Asia-Pacific region.

2

2

SUMMARY OF THE CASE STUDY

The case study was conducted by 3 NGOs (DAM in Bangladesh, DFCLC in Indonesia, and TFPF
in Kyrgyzstan) to investigate ICH contributions to SDGs, especially SDG 4.7 and SDG 11.4 byselecting their own ICH. The study aims to find out relationship among ICH, SDG 4, and SDG 11
and identify ICH roles towards effective ICH safeguarding.
This section shows the summary of each case study. The detailed reports by the 3 NGOs areprovided in APPENDIX 1.
2-1

Bangladesh

2-1-1

Target ICH
Dhamail is a form of folk music and dance
originated in Sylhet division of Bangladesh.
While it varies in areas, Dhamail dance isgenerally performed by at least 8 andmaximum 30 women accompanied by
special musical instruments played bymen. It is practiced on the occasions ofcertain religious rites, religious festivals andbirth and marriage ceremonies.

2-1-2

Target community and people

The case study was conducted in 4 Unions (Badaghat, Polash, Joykolosh, Rafinagar)
Unions under 4 Upazilas of Sunamgani District in Sylhet Division.
Division

SylhetDistrict

Sunamganj

UpazilaUnion

Category

Bishwamvarpur

PalashUrban

TahirpurBadaghat

Rural

Derai

Rafinagar

Rural

South Sunamganj

Jaykolosh

Urban

3

The target people include teachers,
educationists, social workers, local
government officials and the Dhamailgroup members, community seniorcitizens, community leaders,
cultural performers, journalists,
youth and their parents in theabove 4 unions in consideration ofreligion (Muslim and Hindu) andgender.

2-1-3

Target ICH education
Dhamail is practiced in the Let us
Learn project 3 of DAM, implementing in the target communities in mentioned in 21-2 Target community and people.

2-1-4

Social issues to be addressed
The case study focused on such social issues as poverty, lack of community solidarity,
dropout and modernization.

2-1-5

Activities
Schedule
No.
1
2
3
4

3

Date
15 September 2020 4 October 2020
5 October 2020 11 October 2020
12 October 2020 18 October 2020
19 October 2020 25 October 2020

5

26 October 2020 1 November 2020

6

2 November 2020 28 November 2020

Activities
Organised a research teamPrepared a work plan
Conducted desk surveys
Developed research tools
Conducted hands-on orientation training on
Dhamail for the research team
Organised the Focus Group Discussions in
Badaghat of Tahipur
Organised the Focus Group Discussions in
Palash of Bishwamvarpur
Compiled and analysed qualitative data
Selected Key Informants for interviews
Conducted the Key Informant interviews
Prepared the draft case study report

Let Us Learn (LUL) project: http://www.ahsaniamission.org.bd/let-us-learn/
4

No.
7
8
9
10
11
12
13

Date
30 November 2020
1 December 2020 –13 December 2020
14 December 2020 –20 December 2020
21 December 2020 –3 January 2021
4 December 2020 –15 January 2021
28 – 29 January 2021
25 January 2021

Activities
Submitted the draft of the case study report
Conducted further desk surveys by expanding
the target communities
Conducted field surveys
Analysed the case studies
Created the final case study report.
Participated in the international Symposium
Submitted the final case study report

Main activities
1. Data collection (online or physical)• Literature surveys• Focus Group Discussion with semi structured questionnaire• Key Informant Interview• Direct observation of Dhamail• Documentation and recording of a live performance• An interactive youth forum
2. Data analysis
3. Case study report creation
2-1-6

Main findings
Dhamail has been followed by both Hindu and Muslims. Dhamail is used in theirworship for both religions as well as during the marriage ceremony, birthday,
national and international remarkable day observances and, so on. Dhamail is very
friendly to the atmosphere and well accepted by the community and religiously. It
develops the interpersonal relationship among the family, community, culturally and,religiously. Dhamail is very effective to get together and way out from communal
feelings, it creates peace and harmony where all levels of people especially womenparticipate actively, reduces domestic violence and discrimination, and establishes
UNCRC, CEDAW, and Human Rights. Currently, Dhamail is going to be disappeared
from the community due to a lack of financial support and very few culturalorganizations established to practice and continue Dhamail for its existence andinfluence of modern song and dance. There is a scope to protect, preserve and,safeguarding Dhamail as discussed in the consultations with all levels of community
people. Dhamail could be introduced in the education and learning as well as
developing cultural organization at the local and district level. There is a need formore information to draw a conclusion.

5

2-1-72-1-8

ICH contributions to SDG 4 and SDG 11

From the consultations, it was found that Dhamail could play an effective roleand contribute to achieving SDG 4.7 and 11.4 by social inclusion and introducing
formal and non-formal education through co-curriculum activities-

Formation of a cultural group in the school, college, and university level toperform during the cultural program at the local and national level.

Providing training is an integral part of developing skills of the youth and, culturalforum members to protect, preserve and, safeguarding ICH that will continue
from generations

Dhamail is an example of building a relationship between people of different
religious faith, involving women actively, interpersonal relationshipdevelopment, reducing domestic violence, gender-sensitive and active
participationA cultural organization needs to establish at the Union or Upazila level involving
the singer, writer, musicians, Dhamail dance performers who will represent as anambassador of Dhamail. This will assist to strengthen efforts to protect andsafeguard the local cultural and natural heritage to achieve SDG 4.7 and 11.4.

ICH contributions to other SDGs except for SDG 4 and SDG 11
Dhamail contributes to the following SDGs:
SDG 3.7
SDG 5.1, 5.2, 5.3
SDG 10.2
SDG 13.3
SDG 16.1, 16.2 16.9

2-2

Indonesia

2-2-1

Target ICH
Kethoprak is a traditional theater
performance accompanied by traditional
Gamelan music, in traditional language anddress, which is an oral expression, social
practice, rituals, and celebration events.
In the story, it represents the concept ofthe life of the Javanese "Memayu Hayuning
Bawana" or maintaining a harmonious
relationship between humans and Natureand God, teaching history, spiritual values,
patriotism, social care, mutual cooperation, and entertaining, can be done andaccepted by anyone and this.
6

2-2-2

Target community and people
The target community was Klaten Central Java with a population of 1,174,986
consisting of 576,513 male residents and 598,473 female residents.
The case study was conducted in 2 schools: SD Krista Gracia primary school that used
Kethoprak as an extracurricular activity and SD N 2 Trunuh primary school that didn’t
use Kethoprak in a school curriculum.
The target people include students, headmaster, teachers of cultural arts, Javanese
language, social studies, history, civics, parents, and other community members.

2-2-3

Target ICH education
Extracurricular activities that use Kethoprak in SD Krista Gracia primary school.

2-2-4Social issues to be addressed
The case study focused on such social issues as globalization, poverty, genderinequality, lack of community solidarity, dropout, and modernization.

2-2-5

Activities
Schedule
No.
1
2
3
4
5
6
7
8
9
10
11
12
13

Date
10 October 2020
30 October 2020
31 October 2020

Activities / Targets
Held a team meeting
Finalised general guidelines
Sent a letter of recommendation
Sent letter to schools
Made a presentation / outreach
SD Krista Gracia
Made a presentation / outreach
SD N 2 Trunuh
Conducted initial data collection and aquestionnaire
SD Krista Gracia
Conducted initial data collection and aquestionnaire
SD N 2 Trunuh
Interviewed at SD Krista Gracia
Interviewed at SD N 2 Trunuh
Conducted second data collection
SD Krista Gracia
Conducted second data collection
SD N 2 Trunuh
Conducted data analysis
SD Krista Gracia
Conducted data analysis

7 November 2020
7 November 2020
10 November 2020
13 November 2020
18 November 2020
20 November 2020
25 November 2020
25 November 2020
04 January 2021
18 January 2021
7

No.

Date

14
15
16
17
18

22 January 2021
25 January 2021
27 January 2021
28 – 29 January 2021
8 February 2021

Activities / Targets
SD N 2 Trunuh
Conducted comparative data analysis I
Conducted comparative data analysis II
Submitted the draft case study report
Participated in the international symposium
Submitted the final case study report

Main activities
1. Data collection (online or physical)• Literature surveys• Extracurricular lessons in SD Krista Gracia primary school by using Kethoprak• Questionnaire and interviews
2. Data analysis
3. Case study report creation
2-2-6

Main Findings
Based on the results of the case study and the discussions, there were differences in
the results and impacts on education and sustainable development between schoolsthat do and do not learn the traditional art kethoprak.
The schools that make efforts to preserve, protect and promote ICH through learning
the art of Kethoprak contribute to character development and sustainablecommunity development in supporting communal cultural work in the communityand have additional achievements as motivation for character education of
stakeholders.
The students in the schools that used Kethoprak as an extracurricular activity foundthe activity was fun and a new experience and obtained its knowledge and skills of
Kethoprak by being directly involved. As a result, they came to respect the traditional
artworks of their own regions and provide energy for the growth of creativity. The
case study showed that Kethoprak learning help students clearly understand theprocess of work of an object and event. The students also acquired cognitive
knowledge, such as thinking skills, competence to acquire knowledge, recognition,
understanding, the conceptualization of determination, and reasoning. Furthermore,
Kethoprak learning brought positive effects on other subjects, such as art and culture,vernacular, historical social science, and civics. Therefore, there is a significant
influence and linear regression as well as a positive correlation of interest motivationand the results of increasing student participation in learning kethoprak art which
has a positive development effect on character education of students in supportingachievement other academic subjects.
Regarding community involvement, there is interest and community involvement in
the development of the traditional art of kethoprak in providing solutions to sociocultural and environmental problems. Learning the Art of Kethoprak is like inviting
educators to develop and behave in daily life according to the values and norms that8

lead to the formation of character and noble character of students as a whole which
in turn will create awareness in social and environmental concerns.
2-2-7

ICH contributions to SDG 4 and SDG 11
The contributions to SDG 4 include:

Increase student participation in school because of fun activities.



Help increase the capacity of children's mental skills in communicating andappreciating the growing appreciation, pride and knowledge of the teachings oflocal wisdom in the community regarding gender and the Environment.

Support mastery of arts subjects, regional languages, history and education.



Increase citizenship, appreciation and respect for past cultural artworks.

The contributions to SDG 11 include:

2-2-8



Encourage a feeling of unity and solidarity in the community.



Form groups based on the preservation of the traditional art of Kethoprak.

Provide a sense of togetherness and unity as a team.



Foster a sense of care and cooperation in a community, which means mutual
cooperation.

ICH contributions to other SDGs except for SDG 4 and SDG 11
Kethoprak contributes to the following SDGs:
SDG 1
SDG 5
SDG 8
SDG 9
SDG 179

2-3

Kyrgyzstan

2-3-1

Target ICH
The target ICH element is traditional knowledge and skills in making Kyrgyz and
Kazakh yurts that were inscribed on UNESCO’s Representative List of the Intangible
Cultural Heritage of Humanity in 2014, including knowledge and mastery in making
yurts, the craft of making felt carpets, and weaving patterned braids.
Kyrgyz and Kazakh yurt (hereinafter
Kyrgyz yurt) is a traditional housing of
nomadic people; embodiment andintegral reflection of the nomadic way oflife, traditions, values, and worldview of
their ancestors. The yurt is a mobile
dwelling, dome-shaped with a roundedroof created by curved roof poles and acircular trellis walled frame. The yurt
reflects the adaptation of people to thenatural and climatic conditions of thehigh mountains (Kyrgyz) and the Great
Steppe (Kazakhs) and the traditional way of life and economy depended on cattle
breeding and hunting. It also determined the way of perception and thinking ofancient nomads.
A yurt is not just a dwelling, but a living space, an environment that preserves,
reproduces, and maintains the connections between Man and Nature and its
landscapes, which was an effective mechanism to preserve and transmit the integrityof traditional ecological knowledge, experience, practice, and beliefs fromgeneration to generation.

2-3-2

Target community and people
The case study focused on 4 villages (Visionary communities) that practice Kyrgyz
yurt making and other elements that are deeply connected to the Kyrgyz yurt. The
research group uses the term “Visionary communities”, referring to communities
with the capacity to act as true leaders in safeguarding of the intangible cultural
heritage.

10

Province
Issyk-Kul

DistrictTon

Village

Population

Kyzyl-Tuu

470

Features
167 yurt makers
20% of women are

OshChon Alai

Sary Mogol

5,257

involved in craftsmanship,including patterned
weaving

Naryn

At-Bashy

Ach-Kaiyndy

5,106

Carpet making
30 families keep and raise

Issyk-Kul

Ton

Bokonbaev

10,450eagle and falcons andaboriginal hunting dogs.

In the above 4 villages, interviews and discussions were held with artisans, leaders of
local organisations and communities, young people, community members, cultural
practitioners.
2-3-3

Target ICH education“Master-Apprentice” model was used. For example, it has been used in the School ofYoung Falconers in the Bokonbaev village.

2-3-4

Social issues to be addressed
The case study was specifically addressed poverty and gender inequality.

2-3-5

Activities
Schedule
No.

1
2
3
4
5
6
7

Date
7 October 2020 30 November 2020

Activities
Held meetings with the research teamConsulted and held discussions with experts,
leaders of local organizations andcommunities.
Conducted literature surveys
Submitted the draft of the case study report
Conducted filed research in the 4 selected
communities, including interviews
Organised 3 online and one offline meetings
with the group of ICH experts
Created the final case study report.

30 November 2020
1 December 2020 –20 December 2020
15 December 2020 –20 December 2020
20 December 2020 –15 January 2021
28 – 29 January 2021
15 January 2021

Participated in the international Symposium
Submitted the final case study report11Main activities
1. Data collection• Literature surveys• Field research in 4 villages (Kyzyl-Tuu, Sary Mogol, Ach-Kaiyndy and
Bokonbaev), including interviews to about 70 people and focus group
discussions.
• Consultations with experts and discussions (online and physical)
2. Data analysis
3. Case study report creation
2-3-6

2-3-7

Main Findings

ICH becomes a source for cultural resilience, inspiration, consolidation, andcollective responsibility.



Masters - apprentices system is kept alive.



Development of tourism became an impetus for development of craftsmanshipin the communities.



Increased self-reliance and resilience, ability to find solutions to challenges andchanging situation

ICH contributions to SDG 4 and SDG 11

In all targeted communities, masters of craftsmanship have apprentices
interested in learning. Teachers/masters are eager to share their knowledge
and skills and at the same time they are learning on improving the quality of
their products to meet the requirements of the market.



Non-formal, culturally acceptable educational models exist in the communities,
place-based and hands-on approaches are used, and the learning process
stimulates creativity and interest of participants, especially young people.
Local leaders recognize the importance of attracting the youth to educational
activities and transmitting traditional knowledge on ICH. Different models
have been developed and tested such as the “School of Young Hunters” inBokonbaev village, allowing learning directly from masters and practicing in
traditional sports on the training site.

Development of tourism became the impetus for the development ofcraftsmanship in the communities. This strengthens the self-reliance andresilience of communities able to find solutions to changing situation. It canbe said that traditional knowledge helps local communities to survive in the
rapidly changing time, and ICH becomes a source of cultural resilience,inspiration, consolidation, and collective responsibility.



Local festivals help to promote handicraft products, stimulate to improve thequality of their products, empower local artisans, and elevate their status in
the communities.
122-3-8The development of women’s leadership is vividly observed. Groups of women
have become more active by registering local public organizations,associations, cooperatives, and uniting women into informal women’s groups.
They create opportunities for themselves to earn money, to be engaged intheir own business, to help socially disadvantaged women and their families;
they increase their self-esteem and status in the family and community.



The differences in education and community developments among the 4villages were mainly resulted from such factors as geographic remotenessand support of local NGOs.

ICH contributions to other SDGs except for SDG 4 and SDG 11
Kyrgyz yurt making and related knowledge and skills contribute to the following
SDGs:
SDG 1
SDG 5
SDG 1113

3

INTERNATIONAL SYMPOSIUM

The International Symposium for “Research on ICH Contribution to SDGs: Education andCommunity Development was held online on 28 -29 January 2021. It consisted of 4 sessions:session1 Presentations about the case study, session2 Discussion and analysis, session 3
Presentation about the follow-up of the previous project (FY2018 – FY2019), and session 4
Forum with the participation of Japanese Educators and Youth. It was successfully finished after
active and profound opinions and thoughts were exchanged through all sessions by inviting 26
experts from Bangladesh, Indonesia, Japan, Kyrgyzstan, the Philippines, Thailand, and Viet Nam
and 8 observers across Japan.
3-1

Objective
The objective of the international symposium is to share the results of the casestudies conducted by the 3 NGOs in order to clarify the relationship among ICH, SDG 4,
and SDG 11 and to find ICH contributions to SDGs, especially SDG 4 and SDG 11. Theinternational symposium will serve to deepen knowledge with respect to therelationship between ICH and SDGs of the participants and to discuss future
perspectives on ICH research that lead to effective ICH safeguarding.
With help from the UNESCO Associated Schools Project Network (ASPUnivNet),
United Nations University Global RCE Network (RCE) and Asia-Pacific Cultural Centre for
UNESCO (ACCU), Japanese youth and educators will be invited from universities andorganisations to the symposium. They will share cases of Japan’s ICH education withinternational researchers and resource persons and promote UNESCO related activities
domestically and internationally.
Furthermore, in cooperation with the Goi Peace Foundation, which has organised
ESD youth conferences, the international symposium will give a valuable opportunity toconsider the relationship among ICH, education and community development from theviewpoints of youth
The symposium will also provide a place to learn consequences of the previous
project to testify the sustainability of the project.
It also expects to enhance a network of researchers in the ICH related fields in the
Asia-Pacific region.

3-2

Presentations
Presentations in session 1
There were 3 presentations in session 1. The 3 NGOs from Bangladesh, Indonesia
and Kyrgyzstan made presentations, including the summary of the case study, ICH
education treated in the project, analysis on the relationship among ICH, SDG 4 and SDG
11, ICH contributions to other SDGs and future orientation of research on ICH and ICH
safeguarding.

141) DAM (Bangladesh)

15

16

17

18

19

20

21

22

23

24

2) DFCLC (Indonesia)

25

26

27

28

29

30

3) TFPF (Kyrgyzstan)

31

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Presentations in session 3
There were 2 presentations in session 3. The 2 counterparts from the Philippines
and Viet Nam made presentations, including the current situation of the previous
project and future attempts and plans related to ICH and SDGs.
1) NCCA (The Philippines)

39

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41

42

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44

2) VME & VNIES (Viet Nam)

45

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3-4

Summary of general discussion
Comments, thoughts and suggestions by participants during the international
symposium are summarised in this section.
1. Influences of COVID-19 on the practice of ICH and the project
The practice of ICH and the project in Bangladesh and Kyrgyzstan were not so
seriously affected by COVID-19 because most of the target communities arelocated in rural areas where the COVID-19 situation was better than that inurban areas. The researchers were able to conduct field research and organise
workshops in their target communities in cooperation with local researchers,
local government officials and community members. They also successfully
conducted literature surveys, interviews and data analysis.
In Indonesia, however, the project was significantly affected due to thelimitation of movement and the limitation of maximum number of 5 people fora meeting, having difficulty of conducting a workshop and teaching Kethoprak
as an extracurricular activity. On the other hand, Kethoprak has been performed
as it was before the COVID-19.
Negative aspects








Movement was limited and schools or educational institutions were closed.
Many festivals and events related ICH were canceled.
Not only ICH practitioners but also various industries supporting ICH, suchas artisans and musical instrument manufacturers, theatres and venues for
ICH performance have been suffering because festivals and ceremonies
related to ICH were canceled or postponed and the number of audiences
are limited.
In Kyrgyzstan, the following negative impacts have been observed.
- The sales of products related to ICH such as felt carpets have dropped 50%
due to the decreasing number of tourists to the communities.
- Quite a lot of number of culturally important people were dead.
In Japan, the above-mentioned industries supporting ICH have lack ofsupport by the government because the government’s priority on ICH is low.

Positive aspectsCommunity members, ICH practitioners and local NGOs developed new
skills and ways to overcome their difficult situations. For example, using
online tools to perform, introduce, teach and learn their ICH, such as social
media, web meeting systems and YouTube.
ICH is essential to sustain healthy society and quality of life, which is
crystallization of human activity. It is different from tangible cultural
heritage.

56





The COVID-19 situation provided an opportunity to implement ICH
education by using online tools that enhance communications in theirfamily between learners and educators and also beyond countries.
The situation that people stay at home and in their community bring family
members and community members together and strengthen solidarity.

In the Philippines, communities and cultural masters can manage the situationby their own ways and have practiced their ICH and share knowledge by using
online tools and e-commerce with help by SLTs and NCCA.
The COVID-19 situation worsened the existing issues such as globalization,internal and external threats on safeguarding ICH, instead of raising new
research questions. But one new question related to SDG 11 was brought by
Kyrgyzstan with respect to community resilience, solidarity and social
responsibility under the pandemic.
2. Relationship among ICH, education and community development
The importance of transmission of ICH through a multi-stakeholder approach

Not only safeguarding of ICH but also research itself should be conductedby various stakeholders, including cultural bearers.
CH teaches the value of communities or value of tradition. However, on thebasis of mutual respect which ethical principles emphasise, we must
respect our own ICH and the others’ ICH.

The relationship between ICH and education










Because of the nature of SDGs, that is all SDGs are interrelated to eachother, ICH contributes to all areas of SDGs and has a significant potential
for integrated problem solving. ICH can also develop non-cognitive skills.
ICH can improve current education, including formal, non-formal, informal
and TVET.
ICH can be enjoyed and participated by all people regardless of religion,
generations and gender. It also provides solutions for social problems suchas child abuse and child marriage in the Bangladesh perspective throughchanging the knowledge and behavior of people in the community where
the ICH is practiced by integrating ICH into education.
“Education about/through/in/for/as ICH” contributes to the continuity ofthe project.
With regard to the role of ICH and education, education has different
meanings represented by education about/in/through/for/as ICH. Amongthem, education as ICH is more reflective and more emphasizes on
emotional aspects.
In terms of supporting ICH in a community, education about/through ICH is
effective for teachers and local government officials who lack knowledge
about ICH and understanding of the importance of ICH.
57

The relationship between ICH and community development

ICH can contribute to community development in terms of environment(use of natural resources, etc.), economy (sales of traditional crafts andtourism, etc.), society (communal work and inter and intra-generational
communication, etc.) and resilience (mutual assistance, etc.).
ICH, education and community development are interconnected. ICH
contributes to community development by improving the environment ofeducation or transmission of ICH to the public and bringing community
harmony.

3. Future perspectives and challenges regarding the ICH contributions to SDGs
Educational activitiesIntegration of various types of activities that are based on “about/in/for/as
is important for implementing the next project.
Practicing ICH in formal education as compulsory needs to seamlessly
connect to practicing ICH in non-formal education as voluntarily.
While workshops or training of ICH have become popular, traditional
master-apprentice system is still in practice in ICH education.
A community-based museum plays an important role for transmission of
ICH through teaching and learning their own ICH and nurturing the sense of
pride and cultural identity of their community. It also brings various
stakeholders including youth together and builds network.

Participation of multi-stakeholders


The partnership between different fields such as education and culture iseffective and participation of stakeholders at all levels will bring new
perspectives to the project.

Involvement of youth

It is important to get involved youth who is the main actor for the futuresustainable society.
Considering the aspect of the safeguarding of ICH on the future project, theinvolvement of youth is one of the challenges to be addressed because
practicing ICH not only in educational institutions but also voluntarily by
youth are important. Amid glabalisation and commercialization, many ofthem are not interested in ICH and tradition in their community because
ICH brings few financial benefits.
In order to encourage youth participation in ICH education, the methods
and subjects need to be fun for them and design them easy to understand.

Policy linkage58

It is important to consider how to link with policy orientation andimplementation to not make the project an ivory tower.

4. Effects of the previous project
The Philippines
 The previous project continues and even expand to other municipalities aswell as other SLTs. The community members, including cultural masters andlocal government officials show willingness to continue the project. The
developed guidelines are appreciated by stakeholders, including students
and cultural masters by helping them teach and learn in organised andsystematic manner. It gives pride and cultural identity. The project and theguidelines also influenced local governments, which established a task
force to discuss ICH safeguarding measures. NCCA will continue to expand
the project to remaining SLTs and in formal education.
 The community members mainly had responsibility for making all thedecisions related to the project and the ICH elements were selected to bring
benefits to the community.
 The developed guidelines provide teaching process and can be adjusted toa certain community by selecting any ICH element that is relevant to thecommunity. Each community can develop its own guideline.
 Even though the project started after Buklog was applied for UNESCO’s Listof Intangible Cultural Heritage in Need of Urgent Safeguarding, it has been
helpful for the safeguarding activities after the inscription in 2019.
Viet Nam The project has expanded with distribution of the guidelines to otherschools and the Ministry of Education (MOE). The MOE will use theguidelines for its planning next year because it considers ICH education iseffective to achieve SDG 4.
 The MOE is also considering to develop a similar project with UNESCO
Hanoi office.
 The guidelines are good way of bringing ICH education directly into school
through new textbook system.
 Both viewpoints of sustainability and outcomes of social impact are needed
to consider separately.
5. OthersWith regard to the integration of ICH safeguarding issue into the research
project, the thoughts from the 3NGOs are as follows:- In Bangladesh context, the existence of government support, including
financial support and benefits for community members by safeguarding
their ICH need to be considered.
- In Kyrgyzstan, more holistic approach is needed to safeguard ICH in order
not only to revive the ICH itself but also gain meanings of the ICH. I
59



3-5

addition, research on community or place based museum as a non-formal
community learning centre is worth considering to promote safeguarding
ICH.
- Safeguarding ICH is strongly linked with research and education andintegration of three components by involving various stakeholders areneeded.
According to the 2003 Convention principle, authenticity of ICH elements is
not so severely concerned compared to tangible cultural heritage because
it is recognised that ICH has continuously evolved. However, a community
should have ownership of ICH. Authenticity is also related to thegovernance or nature of community.

Forum
The forum with the participation of Japanese Educators and Youth was held assession 4 of the above-mentioned International Symposium. In collaboration with the
UNESCO Associated Schools Project Network (ASPUnivNet), United Nations University
Global RCE Network (RCE), Asia-Pacific Cultural Centre for UNESCO (ACCU), and Goi
Peace Foundation, Japanese educators and youth presented their activities related to
ICH education and community development. The forum provided a precious opportunity
for all participants to share their knowledge and discuss the relationship among ICH,
education, and community development from the viewpoints of youth while learning
UNESCO activities in Japan and other countries in Asia.

3-5-1

Presentations in session 4

There were 4 presentations in session 4. 3 Japanese educators from universities
and a secondary school presented their activities about ICH education in Japan and 1
youth shared his attempts towards community development by using the locally unique
ICH. The presentation materials are provided in APPENDIX 2.

601) Miyagi University of Education (ASPUnivNet)

61

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2) Akiu lower secondary school (UNESCO associated Schools: applying)
The principal of Akiu lower secondary school gave presentation about his attempts
and activities through the animation video. The report reproduces here its extract in theform of the photos.

69

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3) RCE Chubu (Chubu University)

77

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4) Group for transmission of the torch (TAIMATSU) to next generation as cultural
heritage

86

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3-5-2

Summary of Forum discussion
In the active discussion, the main messages were addressed as follows:
The Methodology of ICH education in school

ICH education depends on districts and areas where the ICH is practiced. For
example, students learn ICH after school in a community learning centre.
Another example is ICH education is incorporated into the school curriculum as
an “integral study hour” 4.

Teaching ICH in a team school that is a system based on the specialties of eachteacher is one of the alternative ways when considering the limited time of theschool curriculum. And it is important to continue teaching even small portionsof ICH from primary to high school to make students aware of their roots.



There are an approach of “schools to the community” and the other “school tostudents who can learn from the community” for teaching ICH. Students
practice ICH and learn the background of ICH and research on ICH that cannurture non-cognitive skills such as affection towards their community.



It is expected that the education that combines teaching traditional culture andintroducing new methods such as career internship and entrepreneurshiptraining enables students to build better capacity that makes a sustainable
society. The students who have experienced such education may contribute totheir community even though they leave the community.



Traditional culture and ICH should be safeguarded by a collective community,
rather than organizations or individuals. Individuals cannot safeguard their ICH
after their death even though they are enthusiastic and they have special
knowledge and skills. Organisations and companies may not sustainably support
and fund safeguarding efforts. Therefore, it is important to form a collective
community that has new interests in safeguarding ICH.



It is important to link practical approach and learning approach while linking theapproach of education about/in/for/as ICH in the ESD context.

It is necessary to strengthen the spiral for learning in a community and schoolrather than placing too strong emphasis on formal education.

4

An integral study hour is obligatory at primary and secondary schools in the Japanese education
system and is often used for Education for Sustainable Development (ESD) for its transdisciplinary
nature.
93

The challenges of ICH education

It is difficult to teach and learn ICH in formal school because they have to covera lot of subjects under the current school curriculum in Japan as well as othercountries. But as tradition and ICH are the most familiar topics for students,
educators need to be aware of the attraction of local ICH and naturally
incorporate ICH into school curriculums or extracurricular activities. It isnecessary to create policies to realise it.



ICH education in either formal or non-formal setting needs to have local
preservation society, including cultural practitioners and community members,
understand ICH’s educational effects because ICH, which through long-lasting
tradition, often contains sensitive issues. As seen from the case study of RCE
Chubu (Chubu University), it is critical to explain the benefits of the transmissionof ICH. According to the case of Ohmihachiman city, to teach the torch making
as an independent matter from the religious context, it takes some time to get
permission from the Shinto shrine where it has been parctised for more than
1700 years.



It is a challenge how to seamlessly connect ICH education in formal school tothat in non-formal school. Formal education and non-formal education are notin conflict. It is critical to utilise both education systems for transmitting ICH andwork with all stakeholders. It is necessary to consider what can be done in eachformal and non-formal education in each country at the next step.



ICH in the school curriculum cannot be necessarily taught in perfect form as the
traditional ICH. It may need to share that kind of understandings with local
preservation societies. ICH education in the school curriculum can be considered
as an introductory that teaches part of ICH. It is important to create a place towork with teachers, community members, and cultural holders.



One of the challenges in ICH education at school and community development
is how to deal with religious beliefs and rituals related to ICH when teaching ICH
at school and supporting the local preservation society.



It is indicated that the way of transmitting ICH in non-formal education that was
conducted in a quite compulsory manner in a community is no longer applicablefor modern society. One way is to teach ICH in formal education with some kindsof obligation. Another way is to devise methods to attract youth to voluntarily
learn ICH, giving incentive such as earning money from practicing ICH, enhancing
solidarity in the society, or achieving SDGs by practicing ICH.



It is important to establish a place where various stakeholders can participate
while linking education, research and ICH safeguarding. From this point of view,
it is expected to establish policy linkage and make suggestion for policy makers
to achieve SDGs.
94

The ICH contributions


ICH including tradition and history not only teaches learners knowledge andskills of ICH but also nurtures appreciation of the community and pride towards
it, which leads to a sustainable future. For example, torch in Ohmihachiman may
alleviate discrimination between men and women, between younger and elders,and between people in the community and ones out of the community byworking with various stakeholders.



The charming points of ICH are summarized below:- ICH is joyful and can be participated by everyone.
- ICH can link different generations.
- In this context of education, ICH can be a bridge between community andschool or families. In various viewpoints of teaching education
about/through/as ICH, ICH is recognized in the context of education.
- It is not wise to distinguish formal and non-formal setting and how toconceptualise in an integral manner formal and non-formal education.



ICH may draw more attention under the situation of COVID-19. ICH will havemore profound meaning that "learn to be" become very important compared to"learn to do" or "learn to live together".

The meaning of transmission of ICH
Education plays an important role to widen the opportunity for as many people
as possible to nurture the successors of ICH.

Considering safeguarding ICH, it is also important to think of transmitting ICH
that evolves with the time instead of protecting tradition as shows theexpression “safeguarding without freezing”. It needs mutual learning thatteachers also learn from learners who will inherit ICH.



The term “safeguard” is used rather than the term “protect” because ICH
evolves as the time changes. And authenticity is not taken so rigorously for ICH
safeguarding. But the change should not be happened by external pressure. In
order to avoid such change, a community plays an important role.
The relationship between ICH and community development



It is indispensable to include ICH as well as tangible heritage for community
development planning.

The role of community and ties between community members and otherstakeholders are important to promote and safeguard ICH.

95

Others


UNESCO-associated schools (hereinafter UNESCO schools) are basicallysupported by National Commission for UNESCO in each country. In Japan, theAsia-Pacific Cultural Centre for UNESCO (ACCU), which is the Secretariat of
network of UNESCO schools, together with an international coordinator at the
UNESCO headquarters and a national coordinator at the MEXT helps the
UNESCO schools by organising events and forums in order to enhance bothnational and international exchanges. ASPUnivNet, which is a university network
also supports the application and activities of UNESCO schools.

96

4

COMMENTS

In this section, 3 resource persons and Director-General of IRCI provide comments on the
project.
4-1

Mr. ISHIMURA Tomo (Resource person)
Head of Audio-Visual Documentation Section
at Tokyo National Research Institute for Cultural Properties
The international symposium for “Research on ICH Contribution to SDGs: Education
and Community Development” organized by IRCI was significant because theparticipants engaged in active discussions over a period of two days regarding how
intangible cultural heritage may contribute to achieving SDG 4 ‘Quality Education’ and
SDG 11 ‘Sustainable Cities and Communities’.
Session 1: Presentation of Case Studies:
During this session, the speakers presented case studies from Bangladesh,Indonesia, and Kyrgyzstan. In the presentation on Bangladesh, it was reported that
Dhamail, a form of folk music, is practiced across different religions and is effective inenhancing the resilience of the local communities against natural disasters such as
floods. In the presentation on Indonesia, it was reported that Kethoprak, a traditional
theatre performance, is passed down through formal education in elementary schools
and then via non-formal education within local communities. In the presentation on
Kyrgyzstan, it was shown that the technique for making yurts, or a traditional housing of
nomadic people, is passed down within local communities in connection with othercultural elements such as weaving, felt making, and falconry.
Session 2: Discussion and Analysis:
During this session, the participants engaged in discussions based on the abovementioned presentations. Three NGOs’ case studies share some similarities in that
intangible cultural heritage is passed down via non-formal education within local
communities, enhancing solidarity among the local communities by such transmissionof knowledge, thereby producing a synergistic effect. However, the case studies also
pointed to common issues regarding the transmission of intangible cultural heritage due
to glabalisation and modernisation that has caused the diminishing of interest in
tradition, especially among the younger generations.
Session 3: Follow-up presentations of the previous project (2018–2019):
During this session, follow-up presentations from the Philippines and Viet Nam
were presented, respectively, on the situation after the implementation of the previous
project. In the report regarding the Philippines, it was indicated that efforts are being
made in different areas to encourage the handing down of intangible cultural heritage
in the form of non-formal education within local communities via SLTs (School of Living
Traditions). In the report regarding Viet Nam, it was shown that intangible cultural
heritage is being handed down at schools in the form of formal education. In bothcountries, it was demonstrated that efforts reported in the previous project were being
continued, consequently producing some results, although emphasis was placed on97either formal education or non-formal education. In particular, Buklog 5 was listed on
The List of Intangible cultural heritage in Need of Urgent Safeguarding of the UNESCO
Convention for the Safeguarding of Intangible cultural heritage in 2019, and it isexpected that safeguarding endeavours involving the SLTs and inclusion of the relevant
elements in the list will create a positive synergistic effect.
Session 4: Forum with participation of Japanese Educators and Youth:
In this session, four groups from Japan reported their activities. These groups
belonged to the following institutions: Miyagi University of Education, Akiu Lower
Secondary school, Chubu University, and the Group for transmission of the torch(Taimatsu) to next generation as cultural heritage. Miyagi University of Education andAkiu Lower Secondary school reported their efforts in the transmission of intangible
cultural heritage centred on formal education, while Chubu University and the Groupfor transmission of the torch (Taimatsu) to next generation as cultural heritage reported
their efforts in the transmission of intangible cultural heritage centred on non-formal
education. After their presentation, all the participants engaged in discussions.
Following are the author’s thoughts after participating in the discussions at the
symposium.
One of the discussion topics at the symposium was the relationship of formal
education and non-formal education with intangible cultural heritage. While many
reports focused on non-formal education within local communities in relation to SDG 11,
they also stated that it is often difficult to hand down intangible cultural heritage only
via non-formal education within local communities.
In pre-modern traditional societies, intangible cultural heritage was generally
handed down in the form of non-formal education within local communities, and it wascommon for people to live their lives within the local community in which they wereborn. Therefore, it can be said that learning and transmitting intangible cultural heritage
in the local community were almost ‘obligatory’ and even ‘compulsory’ for the people.
However, in the current globalised and modernised society, people often have thefreedom to leave the local community in which they were born. At the same time, thelifestyles of local communities have undergone rapid changes from traditional tomodern. Under such circumstances, the conventional manner for the transmission of
intangible cultural heritage by non-formal education within local communities seems
not to work well. Therefore, new strategies are required in modern society in order tosustain non-formal education within local communities.
One of these strategies is an effort to encourage people to participate in thepractice and transmission of intangible cultural heritage voluntarily. Specifically, it is a
strategy to inform and convince people belonging to local communities that practicing
intangible cultural heritage benefits them. For instance, in addition to communicatingwith them that intangible cultural heritage is effective in enhancing the solidarity within
the local community, a framework might be established for people to earn cash income
by practicing intangible cultural heritage. It may also be important to let these people
know that engaging in activities related to their cultural heritage plays a certain role inachieving the SDGs, as accomplishing the SDGs is of common benefit to humanity.
Buklog is an elaborate thanksgiving ritual system of the Subanen, an indigenous people in thesouthern Philippines.
598Another strategy is to incorporate the practice and transmission of intangible
cultural heritage into formal education in schools. This may seem contrary to theaforementioned idea of ‘encouraging voluntary participation by the people’ since school
education is, in a sense, ‘obligatory’ and ‘compulsory’. However, some elements ofintangible cultural heritage, including traditional arts and crafts, are difficult to acquire
unless they are learnt early in life. Since non-formal education in local communities canno longer be expected to play an ‘obligatory’ or ‘compulsory’ role, the optionof supplementing it with formal education should also be considered. It is alsosignificant that many people will have the opportunity to experience intangible cultural
heritage through formal education. The base of practitioners of intangible cultural
heritage can also be broadened in this way, and this is necessary for its stabletransmission to future generations.
In order to implement the above two strategies, it is necessary for government
officials, researchers, educators, etc. to cooperate with the people belonging to local
communities and encourage them to work as stakeholders. The responsibility for thepractice and transmission of intangible cultural heritage should not be imposed solely
upon local communities since such an action leads to confining and ‘freezing’ traditional
culture within these communities. Instead, it is necessary to put the practice andtradition of intangible cultural heritage in the dynamic context of modern society andseek solutions to its problems.
In conclusion, I would like to express my overall impression of the project. Whenconsidering the relationship between intangible cultural heritage and the SDGs,
intangible cultural heritage contributes to achieving SDG 4 and SDG 11, andaccomplishing SDG 4 and SDG 11 leads to the safeguarding of intangible cultural heritage.
In other words, the two are interrelated, and it is important to pay attention tothis interrelationship. However, it was perceived through the discussions that there wassome confusion regarding this interrelation. For instance, regarding the relationshipbetween intangible cultural heritage and SDG 4, it was determined that theincorporation of intangible cultural heritage into education improves the quality ofeducation, and the transmission of intangible cultural heritage is promoted because ofthis step. However, there seemed to be some confusion about this interrelationshipduring the discussions. Since this project is titled ‘ICH Contribution to SDGs’, moreemphasis tends to be placed on the former, but in reality, the latter is also important. It
will be necessary to discuss these interrelations in an organised fashion when going
forward with this project in the future.

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4-3

Ms. LIOU Lin-Yu (Resource person)
Professor of Nara University of Education
It is well documented that intangible cultural heritage such as folk music, festivals,
tales, crafts, etc., is traditionally found within the cultural context of the community andis often related to the religious beliefs, events, and economic activities of said
community.
However, intangible culture is under threat in both developed and developing
countries as a result of changes in the local community. For instance, the increase inyoung people relocating to the city leads to their being fewer (and sometimes thecomplete absence) of cultural successors in more rural communities. Furthermore,young people are often attracted to contemporary culture and away from traditional
performing arts or handicraft originating from their communities. This, in turn, acts as acatalyst to the decline of traditional economic activities and cultural events because,
unlike tangible culture, if there are no successors intangible culture can easily disappear
in a single generation. Of course, this disappearance is somewhat lessened by leaving
records such as letters, pictures, and figures for future generations but it is considerably
more challenging to document singing, dancing, or other movement. In this sense,
intangible culture is not static, but is a culture that must be passed down through the
movements of the human body. In other words, the transmission of intangible cultureis based on a person-to-person relationship.
One way to mitigate the effect of there being a lack of successors in the community
would be to provide meaningful education as education allows us both to understandthe value of intangible culture and to further awareness. Compulsory education
manages this by establishing a conventional space to hand down information andknowledge when the community cannot do so itself. For school children, placing
intangible culture into the curriculum is an effective method because it maximizes thechild’s ability to absorb knowledge and gain step by step skills.
Unfortunately, formal education is not always the best way for communities to passon intangible culture as circumstances differ according to the situation of each
community and the amount of support provided by the government. For instance, inareas with a small population of school children, there are a limited number of students
who can inherit intangible culture and its effectiveness, in terms of spreading intangible
culture, is also limited.
Consequently, relevant education could include both formal and informal learning.
Informal education allows adults to study intangible culture as a lifelong learning activity.
Ideally, formal and informal education should be launched in parallel to teach intangible
culture, but if this is not possible then informal education should be the focus.
In the first day of the symposium, we learned about the projects of intangible
cultural heritage in Bangladesh, Indonesia, and Kyrgyzstan and could recognize that
there is a common point at issue. That point is that there is a lack of young successors.
Nevertheless, in second day of the symposium we could also engage with successful casestudies involving formal and / or non-formal education through projects conducted inJapan, Vietnam, and the Philippines. Through these projects, we could understand thatthe inheritance of intangible culture is usually a result of a small group of people realizing
the importance of preserving and developing intangible culture and then, through theassistance of the specialist gradually laying down the foundation for education in schools
100and local communities. This method then becomes a new traditional way to transmit
the intangible culture.
Nevertheless, there are still numerous instances of unobserved and disappearing
intangible cultural heritage around the world and so an additional mission of this projectwill be to raise awareness of the issue in each community.
4-4

Mr. SATO Masahisa (Resource person)
Professor of Tokyo City University
Following the international symposium, I would like to raise a few points forconsideration. These are as follows:1.

The safeguarding of intangible cultural heritage (ICH) has the potential and possibility tocontribute to integrated problem solving.
Case studies have shown that the safeguarding of individual ICH contributes to theachievement of various Sustainable Development Goals (SDGs) and integrated problem
solving (Table 1). These studies have commonly suggested that the safeguarding of ICH
is effective in not only contributing to the achievement of quality education (SDG 4) but
also deepening cooperation and collaboration, by taking account of ‘people-to-people’
relationships, such as considering social justice, gender, and partnership (SDG 5; SDG 16;
SDG 17). In addition, many of these studies have raised points regarding the naturalenvironment of a place and its human settlement (SDG 11; SDG 13), in terms of theregional, human and natural geographic contexts, that give meaning to the ‘place’.
Furthermore, there was a presentation of a case study of Japan’s Chubu region, which
covered a bio-region that transcends administrative divisions and connects ‘people andnature’, ‘people and people’, and ‘places’ through safeguarding activities. The emphasison communal safeguarding activities of ICH as contributing to the achievement of theSDGs as a whole suggests the importance of considering these activities as an integrated
problem-solving approach that contributes to the same.
Table 1. Potential of the selected cases for integrated problem solving
and achieving the SDGs







e.g., Bangladesh, 4, 5, 13, 16, etc.
e.g., Indonesia, 5, 8, 9, 17, etc.
e.g., Kyrgyzstan, 1, 4, 5, 11, etc.
Sendai, 4, 11, with resilience, etc.
Chubu, all the SDGs (including 4, 11), mainstreaming cultural diversity for all the SDGs
Omihachiman, 4, 11, contributing to the SDGs

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2.

The safeguarding of ICH contributes to the acquisition of Social & Emotional Intelligence (SEI).
It is evident that the safeguarding of ICH contributes to the acquisition of SEI, whichis the focus of international discussions on the SDGs and Education for Sustainable
Development (ESD) today. SEI is also called ‘non-cognitive skills’, and the safeguardingof ICH has contributed significantly to the enhancement of one’s mindfulness,compassion, and empathy. Furthermore, some case studies have reported that people
have a strong sense of ownership of the place, which contributes to the acquisition of
SEI, the basis for sustainable development in the future.

3.

The safeguarding of ICH contributes to improving the quality of education.
A series of case study presentations has revealed that the safeguarding of ICH
contributed to improving the quality of various types of education (Table 2)—formal
education (FE), non-formal education (NFE), and informal education (IFE) through homelearning and communication in the community, as well as technical and vocational
education and training (TVET) to improve income and life skills.
Table 2. Contribution of the safeguarding of ICH in improving the quality of education





4.

FE (formal education): rich in curriculum, integration of subjects, contextualization,
critical thinking, opportunities for change
NFE (non-formal education): place-based learning, social learning
IFE (informal education): intergenerational and intragenerational communication,
visionary communities
TVET (technical and vocational education and training): life skills training, income
generation

The safeguarding of ICH contributes to community development.
It was revealed that the safeguarding of ICH contributes to local community
development across environmental, economic, and social spheres (Table 3), as well as
to the strengthening of social resilience. Moreover, it is noteworthy that daily
coordination, collaboration, and mutual assistance through this safeguarding canaddress the Volatility, Uncertainty, Complexity, Ambiguity (VUCA) society.
Table 3. Contribution of the safeguarding of ICH in improving community development






Environment: wise use of natural resources, food culture, environmental conservation,
bio-region-based knowledge accumulation
Economy: income generation, cultural turism
Society: social bonding, intergenerational, intragenerational communication, visionary
communities, institutional arrangement (e.g., schools and associations for thesafeguarding of ICH), food culture, collective action, community coordination
Social Resilience: mutual assistance, daily communication and partnership

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5.

Concluding remarks
Activities for the safeguarding of ICH have hitherto been carried out for the‘purpose’ of safeguarding such heritage while respecting the autonomy of communities.
However, the findings of this project reveal that the safeguarding of ICH also has thepotential and possibility of being a ‘means’ of contributing to (1) integrated problem
solving, (2) acquisition of SEI, (3) improvement in the quality of education, and (4)improvement in community development. It also reveals its potential as a ‘human right’that contributes to the formation of identity amongst local residents. ICH can becharacterized by such terms as ‘social inclusion’, ‘community-based’, and ‘respect forhuman rights’, as shown in Table 4. This creates a multiplicity of meanings of thesafeguarding of ICH (the safeguarding not only as an end in itself, but also as a means toan end and as a right)—in the future, it will be important to handle this safeguarding ina multifaceted manner.
In addition, regarding the research approach to safeguarding ICH, the focus will not
be only on the positivism research approach, which has been the dominant one so far;the interpretivism research approach, which emphasizes the local contexts andqualitative aspects, and the critical theory and action research approach, which
promotes participation and action, too are expected to be expanded and improved. It is
important to discuss these approaches for the safeguarding of ICH from various
perspectives in the future.
Table 4. Characteristics of ICH (UNESCO, 2015)










Traditional, contemporary, and living: ICH does not only represent inherited traditions
from the past; it is recognized as constantly evolving living heritage. The focus, therefore,
is on ensuring continuous recreation and transmission of cultural expressions,knowledge, and skills.
Inclusive: ICH contributes to social cohesion, encouraging a sense of identity andresponsibility that helps individuals to feel part of one or more communities as well as
the society at large. A certain practice can belong to more than one culture. An expressionof ICH in one culture may be similar to one practised by others, from the neighbouring
village, a city on the opposite side of the world, or peoples who have migrated and settled
in a different region. Regardless of their origin, these have been passed from one
generation to another, evolved in response to their environments, and contribute togiving people a sense of identity and continuity.
Representative: ICH depends on those people whose knowledge of traditions, skills, andcustoms is passed on to the rest of the community and from generation to generation, or
to other communities.
Community-based: ICH can only become ‘heritage’ when it is recognized as such by thecommunities, groups, or individuals that create, maintain, and transmit it. Nobody else
can decide for a given community whether an expression or practice is their heritage.
Respectful of human rights: Communities are encouraged to perform and safeguard their
ICH insofar as the associated practices are compatible with international human rights.
Activities and celebrations endangering the life or health of some individuals or groups,
or being detrimental to mutual respect within a community or between groups are notsupported by the ICH convention or any associated programme.
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4-5

Mr. IWAMOTO Wataru
Director-General of IRCI
On the completion of the first year of the project, ‘Research on ICH Contribution to
SDGs: Education and Community development,’ I would like to share my thoughts as
Director General of IRCI.
First, I am grateful to the researchers of Bangladesh, Indonesia, and Kirgizstan.
Their work demonstrates the relationship between their intangible cultural heritage(ICH) and their community as well as their efforts regarding education. As I mentioned
at the Symposium, I seek to encourage them to indicate their educational activities andthe advantages of formal and/or non-formal educational settings for their ICH moreclearly.
Second, the contribution of Japanese case studies at the symposium is highly
appreciated. The Japanese conception of ICH and its incorporation into education is very
valuable. I am convinced that it provides a high stimulus to many countries.
Third, I thank the Japanese resource persons for their valuable comments, which
are so instructive despite being diverse due to their varied specialties. Since their views
are so meaningful, I did not synthesise them in this report. However, I hope that multidisciplinary efforts will continue in order to derive an intensified message in thesubsequent stages.
Finally, research on ICH and external factors, such as SDGs sometimes leads to thedemonstration of ICH, i.e. the components of ICH. In this context, I believe, based on
three countries’ studies, that if ICH contributes towards promoting the quality ofeducation and community development, it is because of its nature: 1) familiarity withpeople (for example, it can convene in a participatory manner with the people of therelated community, bridging generations), 2) roots in the community (links with thenature of the community and/or traditional knowledge), and 3) ‘living’ character(though traditional, it is a contemporary fact). These hypotheses will be further clarified.

104

International Research Centre for Intangible Cultural Heritagein the Asia-Pacific Region (IRCI)
c/o Sakai City Museum,
2 Cho, Mozusekiun-cho, Sakai-ku, Sakai City, Osaka 590-0802 Japan
https://www.irci.jp
Tel: +81-72-275-8050
Fax: +81-72-275-8151

APPENDIX 1. CASE STUDY REPORT
1-1. Bangladesh
1-2. Indonesia
1-3. Kyrgyzstan

International Research Centre for Intangible Cultural Heritage
in the Asia-Pacific Region (IRCI) Japan

Research Study Report on Dhamail
ICH’s Contribution to Sustainable Development Goal:
Education and Community Development

January 2021

Research Study Report on Dhamail (Phase-I) ICH’s Contribution to Sustainable Development:
Education and Community Development

Prepared By
Kazi Ariful Huda
Team Leader (Researchers)
ABM Shahab Uddin
Co-Researcher

DHAKA AHSANIA MISSION (DAM),Road # 12 (New), House # 19, Dhanmondi R/A, Dhaka-1209,
Tel: 8115909, 8119521-22, Fax; 880-2-8113010,
E-mail: dam.bgd@ahsaniamission.org. Web: www. ahsaniamission.org.bd

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Table of Contents
Preface ............................................................................................................................................ 5
Acknowledgement .......................................................................................................................... 6
Abbreviations .................................................................................................................................. 7
Chapter-1: Summary ....................................................................................................................... 8
Chapter-2: Backdrop ..................................................................................................................... 19
Geographical Coverage for the Research .................................................................................. 21
ICH (Intangible Cultural Heritage) used for a case study .......................................................... 21
Describe the approach to the impacts of COVID-19 on your programmes in the context of ICH,
education, and community development: ............................................................................... 22
Objectives of the research: ....................................................................................................... 22
Expected outcome .................................................................................................................... 22
Chapter-3: Introduction, Methodologies and Location ................................................................ 23
Research Location ..................................................................................................................... 24
Develop work plan for research ................................................................................................ 24
Research Methodologies .......................................................................................................... 24
Development of Tools for research ........................................................................................... 25
Research Team Composition ..................................................................................................... 26
Chapter-4: Rights and Standards .................................................................................................. 27
Chapter-5: Initiatives and capacity of Bangladesh Government .................................................. 30
Chapter-6: An introduction of Research Study Location .............................................................. 32
An introduction of Research Study Location ................................................................................ 33
Why Sunamganj district is selected for research study ............................................................ 34
A brief of Sunamganj district and target location ..................................................................... 35
Chapter-7: Findings, Conclusion and Recommendations ............................................................. 39
Findings, Conclusion and Recommendations ............................................................................... 40
Desk Review .............................................................................................................................. 40
Dhamail and its Origin........................................................................................................... 40
The ICH Element- Dhamail ........................................................................................................ 42
Consultation meeting Ministry of Cultural Affairs .................................................................... 45
Consultation Meeting with the District Cultural Officer of Sunamganj .................................... 45
Orientation on the Research for the Research Team ................................................................ 46
FGD/ Consultations in Badaghat Union under Tahirpur Upazila .............................................. 47
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FGD with Youth group in Palash Union under Bishwamvarpur Upazila.................................... 50
FGD with Teachers in Rafinagar Union under Derai Upazila ..................................................... 51
FGD with mixed group in Rafinagar Union under Derai Upazila............................................... 51
FGD with teachers group in Joykolosh Union under South Sunamganj Upazila....................... 52
Observation ............................................................................................................................... 53
Differences/ Variations.............................................................................................................. 54
Religious: ............................................................................................................................... 54
General .................................................................................................................................. 54
Dhamail in Rural Context ...................................................................................................... 55
Dhamail in Urban Context ..................................................................................................... 55
Relationship between Dhamail as ICH and SDG 4.7 and SDG 11.4....................................... 55
Findings from the Key Informant Interview .............................................................................. 56
Conclusion ..................................................................................................................................... 62
Recommendation.......................................................................................................................... 63
ANNEXURES (1-13) ........................................................................................................................ 64

Page 4 of 93

Preface
Bangladesh ratified the UNESCO Convention for the safeguarding of the Intangible Cultural
Heritage (ICH) in 2009. Therefore, Bangladesh has the obligation to the safeguarding of ICH exists
in the country. The 2003 Convention specifies in Article -15 that the community members shallbe recognized as the owners' custodians of their ICH and shall be consulted and actively involved
all times throughout the process. All state parties that have signed and committed to ensuring
the widest and broadest possible participation of communities in the safeguarding of ICH.
Highlighting the above Dhaka Ahsania Mission as a consultative status of UNESCO identified
Dhamail songs and dances one of this cultural heritage in the greater Sylhet (Sylhet, Sunamganj,
Habiganj, Moulvibazar) districts of Bangladesh, which is a home of such folklore of Sylhet region
and undertake a research study project on Dhamail with the financial support from theInternational Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI)Japan.
Dhamail song and dance as ICH are concentrated in the Sylhet region which refers to local
knowledge is integrated part of the daily life and cultural values. Dhamail song and dance
represent the Sylheti culture which develops the social interaction, develops an interpersonal
relationship and effective communication among the people. It also represents solidarity and ashared value of Haor people, uniting people irrespective of caste, creed, religion, gender, or age.
This promotes sustainable social and economic development that empowers underprivileged
communities ensuring the active participation of all level of community people including womenand children.
This is a final report of the research study, This research study on ICH's Contribution to Sustainable
Development: Education and Community Development would be a good source of knowledge
and practice for achieving the SDG 4.7 and 11.4 through the involvement of the community
people, practices, representations, social inclusion and economic development which will createa friendly peaceful harmony, psychosocial protection and secured environment in the society.
I would like to thank all respective community people who provided information to make theresearch authentic and effective. Also thanks to Research team and other officials who provided
support to carry out field work. My special thanks to IRCI for engaging DAM in this ICH researchand support.
Md. Shahidul Islam
Chief of Education & TVET SEctor
Dhaka Ahsania Mission (DAM)

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Acknowledgement
Intangible Cultural Heritage (ICH) are practices, representations, expressions, knowledge and skills,
including instrument, objects, artefact, cultural spaces, that communities, groups, and in some cases
individuals recognize as their cultural heritage. Bangladesh government is committed to measuresand steps in safeguarding and promoting intangible cultural heritage elements. The government iskeen to sustain these ICH elements and protect and preserve. With support from IRCI Japan, Dhaka
Ahsania Mission has undertaken a research study on ICH's Contribution to Sustainable Development:
Education and Community Development at Sunamganj under Sylhet division on Dhamail Song andDance which is very much popular in Sylhet division only.
This is a final report of the study, cover photos and introductory photos used from the captured
photos from the field study.
I would like to acknowledge wholeheartedly to the government officials Ms. Zohora Khatun- Deputy
Secretary and Ms. Jesmin Nahar- Senior Assistant Secretary at the Ministry of Cultural Affairs (MoCA),
openhandedly provided their valuable time in consultations meeting and active participation in theprocess. My special thanks to Mr. Ataur Rahman, Joint Secretary of MoCA for his cooperation andcoordination. And thanks to Mr. Ahmed Nazrul Hoque Chowdhury, District Cultural Officer, andSunamganj for his support and information.
I am grateful to the youth, students especially girls and the community people -women, teachers,
journalist, Cultural activity performers and UP members including the chairman who spared time fromtheir working hours for participating in the study process and FGD. I am indebted to all individuals
who directly or indirectly provided the resources, information, permission and insights in this study.
My sincere acknowledgement is due to Ms. Farhana Begum, Coordinator Training and Mr. Mamunur
Rahman, Accounts Officer and Mr. Istiaque Ahmed Rashed, Secretary, Education Programme of DAM
for their cooperation and logistic support. Particularly, I would like to thank Mr. Saiful Karim- ProjectManager, Mr. Tapan Kumar Sarkar - Technical Officer, Mr. Jafor Alom-Upazila Coordinator, Mr. Ziaur
Rahman, Program Organizer (C4D) and other respective staffs of Let Us Learn (LUL) project,Sunamaganj for their cordial supports, cooperation and coordination during carrying out of fieldworks
without who's they would not be possible to conduct the field study within the stipulated time frame.
My special thanks to the Research Team Members (Field Supervisor, Data Entry Operator/data
Enumerator) for providing and collecting accurate and authentic information, organizing FGD and
Consultations. I am especially grateful to Mr. ABM Shahab Uddin, Co-researcher for his all-out
support and great efforts to make this study meaningful.
I am grateful to Mr. Md. Shahidul Islam- Chief of Education & TVET Sector of DAM for his guidanceand shared insights regarding, reviewing this draft report and providing valuable suggestions andrecommendations for finalization of the report.
This study will serve as one of the resources of ICH for further study, ICH safeguarding inventory andcontribute to the SDG 4.7 and 11.4 achievements. Considering the study recommendations, this will
support in planning, guiding to set goals and objectives and the actions that will demonstrate mosteffective in safeguarding ICH as an example in Bangladesh.
Kazi Ariful Huda
Team Leader/Researcher

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Abbreviations
ICH
DAM
BBS
Haor
LUL
UNICEF
UNESCOUP
UPz
Division
FGD
KII
Pourashavas

Intangible Cultural Heritage
Dhaka Ahsania Mission
Bangladesh Bureau of Statistics
Bowl-shaped large tectonic depressions, low lying depression on afloodplain, sometimes dry up in the dry season.
Let Us Learn, A project of DAM funded by Unicef
The United Nations Children's Fund (UNICEF)
United Nations Educational, Scientific and Cultural Organization
Union Parishad (Union Council- lowest administrative unit of Local
Government)
Upazila (Sub district- administrative unit of Local Government)
Division (in Bangla it’s called Bibhag.) is the first-level administrative
division in Bangladesh. There are 8 divisions of Bangladesh.
Focus Group Discussion
Key Informant Interview
Pourashavas/Municipal Corporations areas, excluding the cities
with city corporations, have municipal corporations, also known as
Pourashavas

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Chapter-1: Summary

Page 8 of 93

Backdrop
Bangladesh has a rich tradition in cultural heritage, especially intangible cultural heritage, thecommon heritage of humanity and a precious asset that should be transmitted creatively to the
future generation. One of this cultural heritage is Dhamail. Dhamail songs and dances are a kindof story-based dance is known as the Dhamail a particular form of folk music prevalent in thegreater Sylhet (Sylhet, Sunamganj, Habiganj, and Moulvibazar) districts of Bangladesh, which is ahome of such folklore of this region. The songs and dances are mainly performed by the
womenfolk mainly during marital functions, and other auspicious occasions. Bangladesh ratified
the 2003 UNESCO Convention for the safeguarding of ICH in 2009 and since then there is an
obligation for Bangladesh to effective implementation of the said Convention. Bangladesh
government has given full cooperation to UNESCO and contributed to develop and publish
Guidebook for Community Based Inventorying of Intangible Cultural Heritage (ICH) in Bangladesh
under the 2003 Convention for the safeguarding of (ICH). Bangladesh's inscriptions on the
Representative List of the ICH of Humanity – Baul Song in 2009, Mongol Shovajatra on Pohela
Boishk in 2016, the traditional art of Jamdani Weaving in 2013 and Shital Pati weaving from Sylhet
in 2017.
Introduction
This is a research study project namely ICH's Contribution to Sustainable Development: Education
and Community Development. Dhamail Song and Dance are one of the cultural heritages in Sylhet
Division. Among the four districts under Sylhet division, Sunamganj has been targeted to conduct
the research study on Dhamail song and Dance as ICH. The research study has been started from15 September 2020 and will be ended on 15 January 2021. According to the research study
proposal, research duration is a total four-month and segregated into two phases (Phase-I andPhase-II) i.e. two months duration is for each phase. This is the Final report and it covers twounions of four Upz and this report covers the period of 15 September – 15 January 2021. This
report includes desk review of the secondary information, qualitative data or informationcollected through using FGD, KII, consultations and observation methods. Structured
Questionnaire has been developed for qualitative and some quantitative data/informationcollection, data enumerators and field supervisors have received orientation training on thisquestionnaire, they have started to collect the information from the selected respective
personnel. Currently, the Dhamail Song and dance is disappearing from the community due tovarious reasons which has been described throughout the report and how the Dhamail could bepreserved protect and safeguarding as ICH is recommended. The research study location is four
unions of four Upz under Sunamganj district of Bangladesh i.e. Palash union under
Bishwamvarpur Upazila, Badaghat union under Tahirpur Upazila, Rafinagar union under Derai
Upazila and Jaykolosh union under South Sunamganj Upazila. Phase-I of research study covers
Palash Union of Bishwamvarpur Upazila and Badaghat Union of Taherpur Upazila underSunamganj district of Sylhet Division.

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Objectives of the research
The main objective of this research is to understand and undertake the responsibility of preparing
a study report considering the impact and effectiveness of the Intangible Cultural Heritage andknowledge of relationships, its contribution to Education and Community Development and theroles in the realization of SDG 4 and SDG 11.
Expected outcome
 Analysed the knowledge of relationships and the ICH roles in the realization of SDG 4 & 11.
 Analysed the future perspectives and challenges regarding the ICH contributions to SDGs
 Analysed data and prepared an effective report where Illustrate all recommendations
 Analysed the scope and opportunities of increasing efforts to transmit Dhamail as cultural
heritage to guarantee its safeguarding
Research Methodologies
Quantitative and qualitative information collection methodologies are used in the research i.e.
quantitative and qualitative data have been collected from the Key Informants Interview (KII) andqualitative data have been collected from Focus Group Discussion (FGD)/consultations as well.
Data has been collected from Approximately 200 participants, it is estimated that 50 persons fromeach Upazila i.e. an average 40-45 participants per union for FGD and 5 personnel KII from each
union.
Moreover, a consultation meeting with the Ministry of Cultural Affairs has been organized toknow more about the Dhamail and to make this research more effective involving Bangladesh
Government. All activities for this research have been carried out following a participatory
approach mainly to collect information from all level of stakeholders/participants. The following
activities/ methodologies are executed to achieve the research objectives and produce a report.
Literature Review: Review relevant document such as Project documents, national
information, targeted Upazila information, and also a similar type of study report, andother relevant reports, website information if any;
Consultations, Focus Group Discussion (FGD) and Key Informants Interview (KII): Several
consultations and individual interview are conducted during the field study such as
consultations will be conducted with the teachers, educationists, social workers, local
government institution and cultural group members and other relevant stakeholders for
Qualitative data collection. These consultations, FGD and interviews has become very
helpful to get an overall scenario of the Dhamail situation in the areas and identify the
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limitations, obstacles or barriers and how to sustain of Dhamail in the community andperformers.
Quantitative data collection: KII will be conducted to collect individual data of community
senior people, leaders, performers, local government bodies, cultural organizations, and,youths those who know about Dhamail. Besides, national information targeted
district/Upazila and urban & rural level has been collected if any. Furthermore,
PRA techniques has been used considering the overall situation of COVIT-19. Observationof the Dhamail performance through field visit or live online zoom or Skype/ collection
from YouTube has needed to organize for understanding the effectiveness and capture
the performances.
Development of Tools for research
Methodological tools has been developed for the collection of Qualitative data from the selectionof the respondents a multi-stage random sampling method such as:
I.
II.
III.

Dhamail group members' reflection on the role and realization of Dhamail among SDG
4 & SDG 11 and the challenges they face
Reflection of Youth and senior citizens of the community, on the influence of Dhamailin their own life as well as in the community
Educationists/Social worker, local government Institution, cultural people andTeachers reflection and roles to transmit Dhamail as cultural heritage to guarantee its
safeguarding

While the Dhamail group members, parents and CMC members and youths have been conducted
Focus Group Discussion with a semi-structured questionnaire, and Key Informant Interview (KII)
has been held with the teachers, educationists, social workers, local government institution andcultural group members.
A structured and semi-structured questionnaire has been developed for fieldwork. A semiStructured questionnaire has been developed for the FGD and consultations mainly. The
structured questionnaire has been developed for the KII. After analysing the received data fromthe respondents, a report for Phase-I has been prepared according to the prescribed format.

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Orientation Training for the Research teamOne-day hands-on orientation training was organized for the Research team members held in
Sunamganj conducted by the Team Leader (Researcher) and Co-researcher. The objectives andcontents of the orientation were: the project briefing including its objectives, researchmethodologies, how to conduct Interviews following questionnaire, how to conduct FGD andconsultations following semi-structured questionnaire, how to recording/notes of the FGDs andconsultations, Area mapping and identify the persons for Interviews, FGDs and consultations for
information/data collection and listing considering the gender aspect, caste, religion, class, youth
groups, occupations, cultural groups/persons; and preparation of work plan and targets.

Findings
History witnesses that Radha Raman Dutta known as Radha Raman was an influential Sylheti folk
music composer and poet from the Sunamganj district in Sylhet of Bangladesh. He is consideredas the father of Dhamail folk dance and music. Dhamail is a form of folk music and dance
originated in Sylhet division of Bangladesh. Dhamail is practised in the erstwhile district/divisionof Sylhet in Bangladesh, according to the witnesses Dhamail has practised in greater Mymensingh
districts of Bangladesh also. It is highlighted that Sylheti: A native or inhabitant of the region
around Sylhet, a city in north-eastern Bangladesh. 'For Non-Bangladeshi readers, the Sylheti
people are originated from Sylhet, a district of Bangladesh and they represent the mostBangladeshi migrants to the UK starting from the early twentieth century. ‘- Oxford Dictionary on
Lexico.com
Sylheti culture especially Dhamail, somehow influenced to some parts of Assam, Tripura andMeghalaya states of India such as Chachar, Karimganj and Hailakandi Districts of Assam, parts of
Tripura and parts of Shillong under Meghalaya states of India (there is an organization namely,
Barak Upatyaka Banga Sahitya O Sanskriti Sanmilan (BUBSSS) of Assam), because Sylhet wasunder Assam before partition between India & Pakistan in 1947. Hindu girls perform Dhamail
dance and songs with spectacle and greatness on the occasions of certain religious rites, different
religious festivals and birth and marriage ceremonies. Ideally, Twenty to twenty-five women standin a circle in the courtyard and perform this rite. Generally at least 8 and maximum 30 women
could perform Dhamail. It accompanies the use of Harmonium, modern Mandira (One kind of
instrument), consisting of a pair of metal bowls used for rhythm effect mainly used in India and
Bangladesh. Kartal is an ancient instrument mainly used in devotional / folk songs. It has derived
its name from Sanskrit words 'kara' meaning hand and 'tala' meaning clapping. This wooden
clapper is a Ghana Vaidya which has discs or plates that produce a clinking sound when clapped
together. And many other musical instruments which are usually played by the males while thedance is being performed. This dance form mainly relates the love of Radha and Krishna and theinner significance of this dance form is that the newly wedded couple must unite their souls insuch fashion. There is history witness also that Radha Raman and Arkum Shah have been cited ashaving introduced the Dhamail dance tradition in Sylhet region. Arkum Shah is a composer ofPage 12 of 93

spiritual and devotional songs. Shah Arkum Ali was a spiritual saint and Sufi in Bangladesh.
Besides this, Baul Samrat (Emperor) Shah Abdul Karim was born in Derai Upazila, in Sunamganj.
Therefore, spiritual and devotional songs were added in Dhamail for Muslim community. Later
Baul and other folk songs and other songs added in Dhamail for both communities to take partcollectively in general events – marriage ceremony, birthday, national day observance- Bengali
New year, independent and victory day etc. Dhamail dance is performed by a group of women.
Women move in a circle clapping their hands to the beat of the music - Harmonium, Mondira,and, Kartal. The songs are first sung by the group leader and then the others join the chorus. The
women wear saree in Bengali style while performing this dance form. The lyrics mainly relate to
Shyam (Krishna) and Radha. Gradually the beat/tempo increases and finally reaches the
crescendo. Breaks are then given so that the performers can have Betel leaf, Betel nut and tea.
The dance form is performed during almost every occasion. The Dhamail songs vary from festival
to festival. For Marriages, Annaprasan, Dol Purnima, day observance etc. There are different lyricsof Dhamail songs.
The research study started with a consultation meeting was organized and held at the Conference
room of the Ministry of Cultural Affairs (MoCA). Mr Ataur Rahman, Joint Secretary (Budget &Audit) of MoCA presided this consultation meeting. Ms Zohora Khatun- Deputy Secretary, Ms
Jesmin Nahar- Senior Assistant Secretary of MoCA have participated in the consultation meeting.
An overview of the Research on Dhamail ICH's Contribution to Sustainable Development:
Education and Community Development, its objectives, target areas and research methodologies
have been shared in the meeting for the conceptual and perceptual clarity. Mr Ataur Rahman
explained that he worked in the Sunamganj previously and he explained about the Dhamail fromhis experience and he agreed with research on ICH in Bangladesh is very important to sustain
these ICH for the generation and community development otherwise these will disappear fromthe culture. Ms Jesmin Nahar, Senior Assistant Secretary of MoCA added that the government has
a plan to prepare an inventory, this research would be more helpful for ICH in Bangladesh. Ms.
Zohora Khatun, Deputy Secretary explained that meanwhile the government started some workwith Shilpokala Academy under MoCA on various cultural activities and the government has aplan to establish a cultural museum at Upazila level. At the end of the consultations, Mr. Ataur
Rahman expressed that the MoCA will provide management/ coordination support andcooperate at field level for research activities if required. This consultation meeting was a great
achievement in involving government and aware them on this research and its activities.
FGD meeting held at Badaghat union near the tomb of Hazrat Shah Arefeen (R) under Tahirpur
Upazila. There are 17 participants out of them 11 male and 6 females. Participants were Union
Chairman (Senior Citizen), Rural Doctor, Cultural Performer Group, Singer, Instrument player,
Song/lyrics/writer, Journalist, local government women member and others from the Muslim
community actively participated in the FGD/consultations; Respondents shared that they
performed / participated in Dhamail from their childhood. There is a river under Tahirpur Upazila
named Dhamail River, they expressed that the naming of the river may be from the Dhamail orthe Dhamail song & dance naming from the name of the river Viz-a-Viz. Respondent also
explained that Dhamail takes place at any time besides the festivals and occasions. Haor is a lowlying land where at least six months it remains underwater mainly in rainy/ monsoon and other
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six months remains as dry seasons. During the monsoon, there is no work and no cultivation to
grow crops, in those days' inhabitants organizes Dhamail at the courtyard/ homestead as
amusement. Mainly women and girls take part in the Dhamial song and dance. Male supports byplaying a musical instrument- harmonium, Kartal or drum. There is no specific song for Dhamailand Dance, but there is a special melody for Dhamail that follows without any variations. BaulSong of Shah Abdul Karim and Arkum Shah are very popular in the Muslim community for DhamailSong and Dance. Performers sing baul, Sufi, Murshedi (Different forms of Islamic songs) on theProphet and the Islamic Saint following the Dhamail song & dance style. Respondents explainedthat Dhamail song and dance can take place at any time even a group of women get together
after their household work. Therefore, special costume not necessary but in an occasion,
performer wear her own best Sharee (A long cloth the Bengali women wear on). In the rural area
only, clapping is used instead of a musical instrument mostly. Respondents noticed that somechanges in the melody & tune following the modern musical instrument introduced in the urban.
Though there was no specific costume for Dhamail song and Dance, now there are colourful
Sharee and standardization maintained during the big occasions. A uniformed Sharee uses in thecommunity or big program arrangements. Currently, Dhamail is going to be disappeared from thecommunity due to lack of support and no cultural organization established to practice andcontinue Dhamail for its existence.
Another FGD meeting with the youth group was organized in Palash village of Palash union under
Bishwamvarpur Upazila. There are 27 youths participated in the FGD of which 21 girls and 06 boys.
The respondents explained that Dhamail is very much well-known in this community as their
Sylheti and Hindu religious culture as the worship of Radha Krishna. They learn Dhamail fromtheir mothers and their mother's learnt from their grandmothers. It indicates that the Dhamail isfollowing and practising in the Hindu community from generation to generation. It is worship to
Radha and Krishna for the Hindu community when they recite the story of Radha and Krishna.
Dhamail song and dance accordingly is a pragmatic step by step story of the life and love of Radha
Krishna. Dhamail organizes socially during the Puja festival and in the marriage ceremony. Besides,
Dhamail organizes and perform at any time in the family and the community for the worship ofRadha Krishna. Respondents explained that during the festival if the Dhamail performance liked
by the audience, they pay some money to the performer. There is no such tradition to pay for the
Dhamail performance. Respondents also shared that there were Dhamail on the social issues
previously. Dhamail could be an instrument of awareness creation COVIT-19. Male and female
both can perform Dhamail but women mainly perform song and dance, male plays musicalinstruments such as harmonium, table or Dholak (drum) and Kartal. Clapping is the key ornamentof Dhamail song and dance. Dhamail is very much acceptable to all religion and all Sylheti. Thereis no conflict or barrier in connection to religion. It's a Sylheti culture. Rehearsal is not required
for Dhamail but if a new song or new writing that should need to practice for understanding thewords and fit into the Dhamail style. Currently, there is no new song produced as the songwriters
are engaged in a different job for their livelihood. The respondents also expressed that though
there is no specific costume for Dhamail sometimes group decides to wear similar coloured saree
such as red and white or yellow. Dhamail is not only based on Radha Krishna, but the song isabout the relationship between mother-in-law & bride and the romantic song also contain in the
Dhamail. Dhamail develops the relationship between family to family and family to community
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and also develops a friendship. It is very interesting that during arranging marriage- knowing andperforming Dhamail is one of the special qualities as the worship of Radha Krishna for girls besideeducation, cooking, stitching, singing, reciting holy books etc. Youth respondents explained thatto achieve the goal of SDG 4.7 & 11.4, social issues for awareness creation could be included in
Dhamail but lyrics are needed to develop by the writers. Dhamail could be included in the school
cultural functions, It could also be a regular activity in the school as co-curriculum and the routine
where there is a scope to incorporate Dhamail. The cultural teacher could take the responsibility.
FGD with the Teachers were held in Rafinagar Union High School. 09 teachers participated in the
FGD. From the FGD it was found that among 09 teachers, 07 teacher’s village home is in
Netrokona (nearby district of Sunamganj and under Mymensingh Division) and they have neverseen Dhamail song and dance and not familiar with Dhamail but they heard about it. Other 2teachers are from Rafinagar and they explained that Dhamail is practiced by the Hindu community
regularly as the worship of God Krishna and Radha mainly. Dhamail song and dance is story of
God Krishna and Radha. However, style of Dhamail song dance follows in marriage ceremonyusing the different folk song such as the song of Hason Raja, Baul song and modern song. Senior
Citizen’s tries to keep the heritage alive but new generation likes modern music’s which influencethem by the modern song and music. Furthermore, online and internet influence the community
culture.
Another FGD was organized at Khagaura village in Rafinagar participated by 14 community peopleof different profession. They are: senior citizen (age between 60-80 years), Teacher, Farmer, Priest,
Artist and student. From the discussion it was found that before 1947, Sunamganj was underAssam province of India as a sub-division. Socio- economic culture was very analogous between
other sub-division of Assam and Sunamganj such as Habiganj, Sylhet and Moulvibazar (currently
district of Bangladesh) were the sub-divisions of Assam along with Karimganj and Hailakandi subdivision (currently in India). Radha Raman Datta is a famous folk music composer and poet.
Dhamail song and dance is a recreation and as worship of God Krishna and Radha. Dhamail songis a story of God Krishna and Radha from beginning to end their love, separation, happiness andsadness. Gradually this song is changed and included other folk song such as Baul folk song but
style of dance not reformed. Chronologically, Dhamail song and dance is included in the marriage
and other social function by using other folk song. Dhamail became a tradition of greater Sylhet.
Respondents explained that they came to know about this dhamail from their parents.
Respondents expressed that during flood and all lands was under water, every homestead there
were took place Dhamail for worship and recreation. There was no training required for Dhamailsong and dance because it was a tradition of every household to teach their children how to
perform Dhamail song and dance like cooking and household work. Dhamail song and dance isfor the women only; women sang song and dance according to the rhythm of clapping. There
were no musical instruments required. Later, male was included with this song and dance byplaying musical instrument from outside the circle of women’s dance. Currently, youths and newgeneration is interested with the modern song and dance and attractive musical instrument, andinfluenced by the online, internet and TV programs. It is essential to protect this traditional
culture otherwise it will be vanished from the Sylheti culture. Respondent Teachers
recommended that this could be included in the curriculum –in social studies as Sylheti culture.
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It may be noted that in the Social Study text book there is a chapter included as Culture of
Bangladesh where Dhamail could be included. Furthermore, Dhamail could be included in the
co-curricular activities of education. Other respondents described that Sunamganj is a tourism
place, so that cultural institutions could developed Dhamail as a part of tourism, as a result tourist
will be enjoyed and familiar with the Sylheti culture Dhamail. This will be developed as aprofession and Dhamail performers will be benefited financially and they could be able tomaintain their family. Youths and adolescents’ groups could be developed in school, communityand education institutions.
FDG organized at Joykolosh Union in South Sunamganj where 10 teachers from different school
and college were attended in the discussion. Respondents explained that Dhamail is a traditionof Sylhet division and it is a traditional Sylheti culture. Dhamail is popular mostly in the Hindu
community. Muslim community do not participate in the Dhamail take place in Hindu community
but there is no conflict or barriers. Dhamail in Hindu community organizes on the God Krisna andRadha for worship thus Muslim community people do not take part in the worship of God Krisna
and Radha. But Muslim community take part during other functions such as marriage ceremony,birth day etc. Muslim community organizes Dhamail in Marriage ceremony and other social
events by using Baul, Murshedi (Muslim spiritual) and other folk and modern song. Both take partin the national and international day observance where Dhamail is the main attraction of theevents. There is a scope to include Dhamail in the school curriculum and co-curricular activities.
Due to the modern culture, Dhamail is much neglected in the community comparing the old days.
Protection and safeguarding, Dhamail should need to be practiced as the old days by organizing
artist/cultural groups, youth groups, community leaders, adolescents and parents especiallywomen.
The relationship among Dhamail as ICH and SDG 4.7 & SDG 11.4
Analysing the all qualitative information that received from the discussions, Dhamail could beplayed an active role in achieving SDG 4.7 & 11.4 by social inclusion and introducing in the school
education and non-formal education such as including in the co-curriculum activities- recitalrhymes & poems, song & dance, storytelling, practising in learning early grades- learning
alphabets, numbers, multiplication tables and in higher grades awareness creation education insocial studies or life skills education- social issues: Law (Act) and consequences of child marriage,
the importance of education especially for girls, Law (Act) and consequences of dowry and so on.
This could be done by Formation of a cultural group in the school and college or university levelis essential to protect, preserve and safeguarding Dhamail. They will perform during the school
cultural program and in the local and national level program.
Training is an integral part of developing skills of the youths and cultural forum members toprotect preserve and safeguarding of ICH that will continue from generation to generations. This
will ensure SDG 4.7 that all learners acquire the knowledge and skills needed to promotesustainable development and sustainable lifestyles, human rights, gender equality, promotion ofa culture of peace and non-violence, and appreciation of cultural diversity. The establishedcultural organization will represent as an ambassador of Dhamail. This will assist to strengthen
efforts to protect and safeguard the local cultural and natural heritage to achieve SDG 11.4 goal.
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Considering the goals and targets of SDG, ICH could be linked with other SDG and the targets for
its achievements:
Goal 3 and Target 7; Goal 5 and Target 1, 2 and 3; Goal 10 and Target 2; Goal 13 and Target 3;
and Goal 16 and Target 1, 2, and 9.
Conclusion
Dhamail song and dance are a Sylheti Culture and very popular in the Sylhet region. This Dhamailstyle has been following by both Hindu and Muslim. Dhamail is using in the worship for bothreligions as well us using during the marriage ceremony, birthday, and national & international
remarkable day observance and so on. The Dhamail is very friendly to the atmosphere and well
acceptance by the community and religiously. It develops the interpersonal relationship among
the family, community, culturally and religiously. Dhamail is very effective to get together and way
out from communal feelings, it creates peace and harmonies where all level of people especiallywomen participates actively, reduces domestic violence and discrimination and establish UNCRC,
CEDAW and Human Rights. Currently, Dhamail is going to be disappeared from the community
due to lack of support and no cultural organization established to practice and continue Dhamail
for its existence and reduce the influence of modern song and dance in the Sylheti own culture.
There is a scope to protect preserve and safeguarding Dhamail as discussed in the consultations
with all level of community people. Dhamail could be introduced in education and learning aswell as developing cultural organization in the local and district level. There is needed more
information to conclude. It is expecting that the after completion of phase-II, the findings will be
more authentic with more information and effective for recommendations and draw a conclusion.
Recommendation
The recommendations are:Dhamail is going to be disappeared from the community especially from Muslim community.
Hindu community practices Dhamail as worship of god Radha Krisna. Modern songs and otherfolk songs are influencing the whole community and taking the place of traditional Dhamail. Thereis a scope to sustain, preserve and ensure protection of Dhamail as ICH.
 Assist to get together and eliminate communal feelings, it will creates peace and harmonies
where all level of people especially women participates actively, reduces domestic violence anddiscriminations.
 A Dhamail Cultural Organization should need to form and establish at the local level comprising
Dhamail singer, musical instrument player/musician, writer and Dhamail Performers. This culturalorganization will train the youth and teachers/child leaders in the educational institutions. This

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will assist to strengthen efforts to protect preserve and safeguarding the local cultural and natural
heritage to achieve SDG 11.4 goal.
 More discussions and information is needed from other locations and test result from LUL project
to confirm that Dhamail is not conflicting with any other religious or community faith before
drawing conclusion on the ICH.
 Establish Dhamail as one of the teaching –learning method. Dhamail needs to include in the early
grade education as one of the teaching-learning methods. This could be implemented in the LUL
project initially to create as an example for the community and Educational Institutions.
 Dhamail should need to be identified, develop scripts/tools, Introduce in education and raisingawareness in the community on social issues such as child marriage, dowry, domestic violence,
health & hygiene ( even COVIT-19)
 Educational institutions and non-formal education through performing Dhamail song and dance
can create awareness for implementation of UNCRC, CEDAW, Child Rights and as a result
achieving SDG 4.7 and 11.4
 Dhamail could assist to get together and eliminate communal feelings, it will create peace andharmonies where all level of people especially women participates actively, reduces domestic
violence and discriminations.
 A Dhamail Cultural Organization should need to form and establish at the local level comprising
Dhamail singer, musical instrument player/musician, writer and Dhamail Performers.
 Provide Training to the Cultural organizations. These cultural organization will train the youth andteachers/child leaders in educational institutions. This will assist to strengthen efforts to protectpreserve and safeguarding the local cultural and natural heritage to achieve SDG 11.4 goal.
 Dhamail could be piloted in the LUL project initially to strengthen efforts to protect preserve andsafeguarding the local cultural and natural heritage to achieve SDG 4.7 & 11.4 goal. Dhamail
Cultural group needs to form in the non-formal & formal school, college/educational institution
and at the community level. to create as an example for the community and Educational
Institutions
 Considering the KII information, more discussions and information is needed from other locations
and test result from LUL project to confirm that Dhamail is not conflicting with any other religious
or community faith before drawing conclusion on the ICH.

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Chapter-2: Backdrop

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Backdrop
Bangladesh has a rich tradition in cultural heritage, especially intangible cultural heritage and itis the common heritage of humanity and a precious asset that should be creatively transmitted
to the future generation. It is well-known that every society has their own cultural heritage andof those some are so strong that they are branded with the name of that country and evenaccepted by the UNESCO as world heritage. There are a lot of intangible heritages in the
Bangladeshi societies that contributes to SDGs through community development in different
perspectives such as education livelihood development and awareness building on many social
problems. One of this cultural heritage is Dhamail. Dhamail songs and dances are a kind of storybased dance known as the folk music, prevalent in the previous greater Sylhet (Consisted with
Sylhet, Sunamganj, Habiganj, and Moulvibazar) districts of Bangladesh, which is a home of such
folklore of this region. The origin of the word "Dhamail" is from the word "Dhama"; it means
obsession /feelings. The song and dance is mainly performed by the women folk during marriages
and other auspicious occasions. The ladies move in circle, clapping their hands to the beat of themusic. The songs are first sung by the leader and then the others join the chorus. Local folk music
composer Mr Radha Raman and Mr Arkum Shah have been cited as having introduced the
Dhamail dance tradition in Sylhet region. However, Dhamail song is composed by Mr
Prataparanjan Talukdar, is best known as 'Pratap-Bandha'.of Haor area. The book 'Dhamail Songof Bangladesh' edited by folk culture researcher Mr Suman Kumar Das has come out of ‘Bangla
Academy’ with the origin and development. It contains about 1000 Dhamail songs as well as theevolution, development, expansion and, introduction of Dhamail songs, and a number ofphotographs.
Dhaka Ahsania Mission has experience of working for the integration of local traditions andculture in education and social communication. Haor (Wetland)- based JOYFUL model and, Let us
Learn (LUL), urban-based EAST Projects are the concurrent examples, where the integration of
local sports, technology-based approach and folk cultural elements in education are facilitatedtowards socialization and leadership development of Children and Youths. ICH knowledge usedby local resource team to the school-based events, communication mode/materials, the oral
traditions, folk cultures, arts, social practices, rituals, traditional festivals, etc. Knowledge andinsights of local teachers, craftsmen, and wisdom careers are used in this process. In thatbackground, the focus of this proposed project is to conduct a research work, where collecting
data and, preparation of manuscripts on a case study regarding Education and Community
Development through using Intangible Cultural Heritage (ICH) can be carried out on the ‘Dhamail’that can effectively contribute to sustainable development. Along each of its several dimensions– economic, social and environmental peace and security for various social and small groups thatcan lead by young people in four Upazilas (sub-district) of Sunamganj district namely, SouthSunamganj, Bishwamvarpur (Plan 1) and Derai and Taherpur (Plan-2) Upazilas of Haor (Wetland)area. The key aspect of the project is to promote active engagement of young people indeveloping bondage between local cultural heritage (Dhamail in this case), education andcommunity development. Exploring the use of Dhamail as an intangible cultural heritage inschool-based learning by a social awareness campaign, in the marketplace to promote rural
products by arranging different shows, etc. These sorts of efforts will figure out various ICH
elements such as oral cultures and traditions, performing arts -traditional dances, traditional
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music, instrument, and different information regarding health, environment, social burning issues
and others.

Geographical Coverage for the Research
Joykalash Union (Urban) of South Sunamganj Upazila, Palash Union (Urban) of Bishwamvarpur Upazila.
Rafinagar Union (Rural) of Derai and, Badaghat Union (Rural) of Taherpur Upazilas under Sunamganj
District.

ICH (Intangible Cultural Heritage) used for a case study
Young people have an opportunity to learn their heritage and gain knowledge through the
Dhamail and can play a vital role to transmit the ICH knowledge & skills within the community
which is constantly recreated by communities and groups in response to their environment,interaction with nature, their history and, provides them with a sense of identity and continuity.
This culture will create a platform for people of all ages which is also a point of breaking the gap
between youth and old from past to present. To stage a Dhamail, Young people will be physicallyinvolved by which they would have the opportunity to learn from the old arranger. This
involvement, directly and indirectly, will nurture their cultural sense of belonging. This type of ICH
will create a market for community by organized programme or show on Dhamail and spread themessage of rural, food, related agricultural, seasonal crops, famous handicraft etc. can be a goodsource of income-generation. The acquired knowledge and skills will be widely disseminated byyouth within the community contributing to community development. Online "Dhamail "will beorganized for the deep understanding of the ICH cultural expression. An interactive Youth forum
will be formed to promote the ICH knowledge where the local community will be actively involved
to promote and exchange of knowledge sharing. It helps to reinforce social bonding and create aharmonious social atmosphere. This is the way of engagement of various local communities(religious community, minor community) that can creates social capital and resolve communal
problems. Dhamail creates a platform to get together which is an intangible way of dispute
management. It also represents solidarity and a shared value of Haor people, uniting people
irrespective of caste, creed, religion, gender, or age. This promotes sustainable social andeconomic development that empowers underprivileged communities, including women andchildren. Dhamail is the culmination of the Bengali tradition of enjoying festivals and keep people
connected to their roots, while providing a much-needed boost to the incomes from reach peopleof society. This program can be seen as a driver for socio-economic growth which is accessible forall social groups to alleviate poverty. Finally, this dance boosts the local economy through its shortterm as well as youth engagement in the local culture.
Dhamail has broad and significant outcomes as a sense of local hood, community engagement,
boost up the local economy, indirect dispute management, and social capital, broaden up
communication and, after all large scope of entertainment for the local people. Dhamail had asignificant attraction to local people on recreation for a certain period. Now it is not only
performed to the rural area but also the urban areas that use good start at the beginning of any
notional and international event. If I compare the Dhamail outcome in rural to urban areas, we
can find quite a gloomy picture of the situation. Urban people have a diverse identity, different
classes, and lacking a sense of commonality. Sustainability of Intangible Cultural Heritage is highly
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dependent on transmitting ICH education to present and future generations. Transmitting ICH
education as "learning by living" is the most traditional method of non-formal education.
Therefore, Non-Formal Education easily transmits ICH to students by practicing a particular kindof ICH which might not be as possible in a formal or public setting. In the Hoar area, almost all
young people from kindergarten up to at least the secondary level are fully engaged in formal
education with almost no time for assimilating ICH. Therefore, Dhaka Ahsania Mission's Let us
Learn (LUL) and JOYFUL project inserted ICH education into school curricula as local content or an
extracurricular as a good practice. As the program collaborating with the local community, thehoar community noted that the younger generation's interest in cultural heritage including
Dhamail was waning and felt the need to increase efforts to transmit Dhamail as cultural heritage
to guarantee its safeguarding.

Describe the approach to the impacts of COVID-19 on your programmes in the context
of ICH, education, and community development:
In the COVID-19 pandemic situation, the Programme will be hopefully organized throughalternative approaches because on specific approach may not fit for every aspect. The projectwill ensure to carry out the project activities following its Guideline and WHO prescribed advices
in the Pandemic situation. The project will consider holistic spectrum of needs that the project
beneficiaries actually will be needed. If COVID‐19 situation is continued and social distance isessential then project will consider all responses of learning – high tech, low tech and no tech –solution. The solution that is relevant, feasible. Among the currently available and easy to use ICTMedias like Facebook Live, Messenger Group, Zoom Apps, Whatsapp, YouTube, Video clips etc.
During baseline survey, respondent’ accessibility in ICT tools will be identified to provide needspecific solution. For Home based-solution (Response from home). The project will encourage
local youths and the performer to utilize locally‐available infrastructure and services.

Objectives of the research:
The main objective is to understand and undertake responsibility of preparing a study reportconsidering the impact and effectiveness of the Intangible Cultural Heritage and knowledge ofrelationships, its contribution in Education and Community Development and the roles inrealization of SDG 4 and SDG 11.

Expected outcome

Analysed the knowledge of relationships and the ICH roles in realization of SDG 4 and SDG 11.



Analysed the future perspectives and challenges regarding the ICH contributions to SDGs



Analysed data and prepared an effective report where Illustrate all recommendations

Analysed the scope and opportunities of increasing efforts to transmit Dhamail as cultural heritage
to guarantee its safeguarding

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Chapter-3: Introduction, Methodologies and Location

Page 23 of 93

Introduction, Methodologies and Location
This research study project namely ICH’s Contribution to Sustainable Development Goals:
Education and Community Development, has been started from 15 September 2020 and will be
ended in Mid-January 2020 in two phases. According to the research study proposal, research
duration is a total four-month and segregated into two phases (Phase-I and phase-II) and durationis two months for each phase. The research study locations are in four Unions of four Upz underSunamganj district of Bangladesh. This is the final report comprising Phase-1 and phase-II reportand it covers four unions of four Upz and this report covers the period 15 September - January
2021 and includes the progress towards research on Dhamail. This report includes desk review ofthe secondary information, qualitative data or information collection through using FGD, KII,
consultations and observation methods. Structured-Questionnaire has been developed for
qualitative and some quantitative data/information collection, data enumerators and field
supervisors have received orientation training on this questionnaire, they have started to collectthe information from the selected respective personnel.

Research Location
The research study divided into two phases the detail is given in the beneath table:
Division

District

SylhetSunamganj

Upazila
Bishwamvarpur
Taherpur
DeraiSouth Sunamganj

Union
PalashBadaghat
Rafinagar
Joykolosh

Phase
Phase-I
Phase-I
Phase-II
Phase-IICategory
Urban
Rural
Rural
Urban

The research study covers Palash Union of Bishwamvarpur Upazila & Badaghat Union of Taherpur
Upazila in the Phase-I; and Rafinagar Union of Derai Upazila & Joykolosh Union of SouthSunamganj Upazila under Sunamganj district of Sylhet Division.

Develop work plan for research
Research work plan has been prepared in consultation with the all team considering reality of thepresent situation of the locality and COVIT-19 pandemic situation. Work plan enclosed Work Plan
Phase in annex-1 and Work Plan Phase II in Annex-2.

Research Methodologies
Following the objectives of this research and article-15, both quantitative and qualitative
information collection methodologies were used in the research i.e. quantitative and qualitative
data were collected from the Key Informants Interview (KII) and qualitative data were collectedfrom Focus Group Discussion (FGD) and consultations as well. I is noted that Data from KII werecollected from 200 participants i.e. 50 persons from each Union from each targeted Upazila.
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Moreover, a consultation meeting with the Ministry of Cultural Affairs was organized to know
more about the Dhamail and notify them about the research study to make this research more
effective involving Bangladesh Government. Furthermore, another consultation meeting wasorganized with the official of District Shilpokala Academy (District Cultural Academy) of
Sunamganj.
In addition, secondary literature review (national reports, books, website and YouTube etc.) andconsultations with the various groups also were used for visualization of the situation in thetargeted areas. All activities for this research were carried out following participatory approach
mainly to collect information from the all level of stakeholders/participants. Methodologies andinstrument/tools were finalized in consultation with the management and IRCI. A presentation ofresearch instrument/tools and techniques/approach for data collection with the respective
personnel were organized. The following activities/ methodologies will be executed to achieve
the research objectives and produce report.
•

Literature Review: Review relevant document such as Project documents, information from
YouTube, national information, targeted Upazila information, and also similar type of study
report, and other relevant report;•

Consultations, Focus Group Discussion (FGD): A number of consultations and individualinterview were conducted during the field study such as consultations were conducted withthe community members, local government members, GoB linkages, Dhamail
performers/groups and other relevant stakeholders for Qualitative data collection. These
consultations and FGD were very helpful to get an overall scenario of the Dhamail situationin the areas and identify the limitations, obstacles or barriers and how to sustain of Dhamailin the community and performers.

•

Key Informants Interview (KII): KIIs were conducted to collect Quantitative data collection
from individual interview following the prescribed/developed questionnaire. Interview wasorganized for the community senior people, leaders, performers, local government bodies
and cultural organizations, youths those who knows about Dhamail. In addition national
information targeted District/Upazila and urban & rural level were collected.

•

In addition, PLA (Participatory Learning Appraisal) techniques were used following the overallsituation of COVIT-19.

•

Observation: Dhamail performances were organized at the locations during field visit forunderstanding the effectiveness and capture the performances.

Development of Tools for research
Structured and semi-structured questionnaire have been developed for the field work. SemiStructured questionnaire has been developed for the FGD and consultations mainly. Structured
questionnaire has been developed for the KII. After analysing the received data from therespondents, a draft report has been prepared according to the prescribed format of IRCI. BothSemi-questionnaires are attached herewith in the annex-3 and Questionnaire for KII in Annex-4
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Research Team Composition
All proposed 16 persons were recruited following the DAM recruitment policy. They were on
board from 15 September 2020.
Responsible for Upazilas &Union.

SL

Name

Designation/ Position

1

Kazi Ariful Huda

Team Leader / Researcher

Research

2

ABM Shahab Uddin

Research

3
4

Md. Istiak Ahmed
RashedMamunur Rahman

Co- Researcher/
Coordinator
IT officer
Accounts officer

Accounting support

5

Suhena Akter

Supervisor

Palash Union of Bishwamvarpur

6

Yeasmin Akter

Supervisor

Badaghat Union of Tahirpur

7

Kaykubad Talukdar

Supervisor

Rafinagar Union of Derai Upazila

8

Nasima Bagum

Supervisor

Joy Kolos Union of Daskhin
Sunamganj Upazila

9

Lucky Paul

Data Collector

10Juyena Begum

Data Collector

1112

Majeda Begum
Mst Bilkis Akter

Data Collector
Data Collector

Pallash Union of Bishwamvarpur
UpazilaPallash Union of Bishwamvarpur
UpazilaBadaghat Union of Tahirpur

13

Banya Rani Biswash

Data Collector

Rafinagar Union of Derai Upazila

14

Ivy Rani Das

Data Collector

Rafinagar Union of Derai Upazila

15

Mintu Talukder

Data Collector

Joy Kolos Union of Daskhin
Sunamganj Upazila

16

Md Rabiul Alom

Data Collector

Joy Kolos Union of Daskhin
Sunamganj Upazila

IT support

Badaghat Union of Tahirpur Upazila

Supervisor and Data Entry Operator/Data Enumerator (DEO & DE) were selected and hired fromthe respective union and Upazila because they were very much familiar in the community andhave easy access to all level of people in the union and the community, which was very much
helpful to gather actual information on the cultural practices.

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Chapter-4: Rights and Standards

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Rights and Standards
The Universal Declaration on Human Rights of 1948 about the existing international human rights
instruments, the International Covenant on Economic, Social and Cultural Rights of 1966, and theInternational Covenant on Civil and Political Rights of 1966, Considering the importance of theintangible cultural heritage as a main - spring of cultural diversity and a guarantee of sustainable
development, the Convention for the Protection of the World Cultural and Natural Heritage of1972, UNESCO Recommendation on the Safeguarding of Traditional Culture and Folklore of 1989,
Universal Declaration on Cultural Diversity of 2001, and in the Istanbul Declaration of 2002 andConvention for the Safeguarding of the Intangible Cultural Paris, 17 October 2003. Considering
the invaluable role of the intangible cultural heritage as a factor in bringing human beings closer
together and ensuring exchange and understanding among them, Considering the need to build
greater awareness, especially among the younger generations, of the importance of theintangible cultural heritage and of its safeguarding.
Article 1: The purposes of the Convention are:(a) To safeguard the intangible cultural heritage; (b) To ensure respect for the intangible
cultural heritage of the communities, groups and individuals concerned; (c) To raiseawareness at the local, national and international levels of the importance of theintangible cultural heritage, and of ensuring mutual appreciation thereof; (d) To provide
for international cooperation and assistance.
Article 2: Definitions
1. The ‘intangible cultural heritage’ means the practices, representations, expressions,knowledge, skills – as well as the instruments, objects, artefacts and cultural spaces
associated therewith – that communities, groups and, in some cases, individuals
recognize as part of their cultural heritage. This intangible cultural heritage,transmitted from generation to generation, is constantly recreated by communities
and groups in response to their environment, their interaction with nature and their
history, and provides them with a sense of identity and continuity, thus promoting
respect for cultural diversity and human creativity. Consideration will be given solely
to such intangible cultural heritage as is compatible with existing international humanrights instruments, as well as with the requirements of mutual respect amongcommunities, groups and individuals, and of sustainable development.
2. Domains of the Intangible Cultural Heritage: (a) oral traditions and expressions,
including language as a vehicle of the intangible cultural heritage; (b) performing arts;(c) social practices, rituals and festive events; (d) knowledge and practices concerning
nature and the universe; (e) traditional craftsmanship.
3. ‘Safeguarding’ means measures aimed at ensuring the viability of the intangible
cultural heritage, including the identification, documentation, research, preservation,
protection, promotion, enhancement, transmission, particularly through formal andPage 28 of 93

non-formal education, as well as the revitalization of the various aspects of such
heritage.
4. The 2003 Convention supports inventorying as a measure of safeguarding ICH- Article12: documenting and organizing information about living heritage in systematic way
so that it can be used for safeguarding purpose. Article-15: Involving the community at
all stages in the documentation and inventory process, and in other words, taking acommunity-based approach towards inventory.
SDG 11.4: Strengthen efforts to protect and safeguard the world’s cultural and natural
heritage.
SDG 4.7: Ensure that all learners acquire the knowledge and skills needed to promote sustainable
development, including, among others, through education for sustainable
development and sustainable lifestyles, human rights, gender equality, promotion ofa culture of peace and non-violence, global citizenship and appreciation of cultural
diversity and of culture’s contribution to sustainable development

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Chapter-5: Initiatives and capacity of Bangladesh
Government

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Initiatives and capacity of Bangladesh Government:
The importance of preserving and spreading culture was recognised so following Bangladesh's
independence in 1971 a separate division was created within the Ministry of Education called Cultural
Affairs and Sports Division in 1972. Then in the subsequent in 2001, the Ministry operated under thename of Ministry of Cultural Affairs (MoCA) under State Minister, the then in 2014, the Ministry has
been operating as full-fledged Ministry under Minister. There are 10 Directorates under the Ministry
Of Cultural Affairs (MoCA), among them ‘Bangladesh Shilpakala Academy 1 ’, Bangla Academy,‘Bangladesh Folk Arts and Crafts Foundation 2 ’ and Department of Archaeology (Bangladesh) areplaying vital role in Conservation and preservation of culture and archaeological sites in the country.
‘Bangladesh Shilpakala Academy to extend its reach throughout the country, the academy has set up
branches in all districts. The branches arrange district-level festivals, programs, and training in various
fine and performing arts. Recently this Academy is establishing cultural and Art museum at the Upazila
level.
Bangladesh ratified the 2003 UNESCO Convention for the safeguarding of ICH in 2009 and since thenthere is an obligation for Bangladesh to effective implementation of the said Convention. Bangladesh
government has given full cooperation to UNESCO and, contributed to develop and publish
Guidebook for Community Based Inventorying of Intangible Cultural Heritage (ICH) in Bangladesh
under the 2003 Convention for the safeguarding of (ICH) as Bangladesh is one of the signatory
countries and ratified the 2003 UNESCO Convention for the safeguarding of ICH. Now Bangladesh has
a precious said Guidebook. Ministry of Cultural Affairs of Bangladesh is in the process of preparationof ICH inventory. Bangladesh’s inscriptions on the Representative List of the ICH of Humanity – BaulSong in 2009, Mongol Shovajatra on Pohela Boishakh in 2016, the traditional art of Jamdani Weaving
in 2013 and Shital Pati weaving from Sylhet in 2017.
Ministry of Cultural affairs (MoCA) provided information during the consultation meeting is that the
MoCA has been preparing an ICH inventory, meanwhile the ministry included 58 ICH in the inventory,
this Research will obviously be helpful for listing in the inventory to make inventory richer and more
effective. Bangladesh government encourages the individual and institutional researchers to researchstudy on the ICH of Bangladesh such as Suman Kumar Das (Sumon Das) has contributed more thanfifty books about different issues of folklore, this book is especially useful as it deals with the less
explored aspects of the folkloric world of our country which is a great contribution to the folk
literature as well. The book 'Dhamail Song of Bangladesh' published by the ‘Bangla Academy3’ which
was edited by folk culture researcher ‘Suman Kumar Das 4’ keeping the origin and development. It
contains about 1000 Dhamail songs as well as the evolution, development, expansion andintroduction of Dhamail songs, and a number of photographs.

1‘National Academy of Fine and Performing Arts’ the academy promotes the arts and national culture and creation of necessary

facilities for their development.
Bangladesh Folk Arts and Crafts Foundation is a government foundation that is responsible for the preservation of; andarrange training programmes on arts and crafts, and the setting up of folk art museum in Bangladesh
3Bangla Academy (Established in 1955) is an autonomous institution funded by Bangladesh government to promote and foster
the Bengali language, literature and culture.
4
Suman Kumar Das is a researcher in the field of folklore studies. He has contributed more than fifty books about different issuesof folklore.
2

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Chapter-6: An introduction of Research Study Location

Page 32 of 93

An introduction of Research Study Location

In 1874, the current Sylhet Division, along with Karimganj Sub-division of Assam province of India,
was entirely known as the 'Sylhet district'. In September of the same year, Sylhet was separated
from mainland Bengal in order to facilitate Assam's commercial development. The people of
Sylhet submitted a memorandum to the Viceroy (governor who represents a sovereign in aprovince or colony) protesting the inclusion in Assam. The protests subsided when theViceroy visited Sylhet and reassured the people that education and justice would be
administered from Bengal. In 1905, Sylhet district re-joined Bengal as a part of the new Surma
Valley Division of Eastern Bengal and Assam.
In 1912, the then Sylhet district was moved to the newly-created Assam Province alongside theother districts of the Surma Valley Division. Historically, the entire Sylhet region was a single
district within the Surma Valley and Hill Districts Division as part of the Assam Province.
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In 1947, a referendum was held in the Sylhet district, voting in favour of succession to Pakistan.
However, the district's Karimganj subdivision was given to India. The four other subdivisions(North Sylhet, South Sylhet, Habiganj and Sunamganj) joined the Pakistan; subsequently
forming East Bengal's 'Sylhet district' in the Chittagong division. In 1971, Sylhet became part of
the newly formed country Bangladesh.
It was sub-divided into four districts in 1983-84 with the current Sylhet District being known as
North Sylhet. In 1995, Sylhet split from the Chittagong Division and was declared the 6th divisionofthecountry.
The
SylhetDivisionincludefour
districts(Habiganj, Moulvibazar, Sunamganj and Sylhet) and further divided into 35 Upazilas (subdistricts). These Upazilas are further divided into 323 Union Parishads. Each union is roughly
divided into 9 wards before going to village-level. There are roughly 10,185 villages in the Division.
The Division hosts 19 Municipal corporations known as Pourashavas, and one city corporationin Sylhet city. Sylhet Division is the north-eastern division of Bangladesh. The Sylhet City
Corporation was constituted in 2001.
Sylhet division is bordered by the Indian states of Meghalaya, Assam and Tripura to the north,east and south respectively, and by the Bangladeshi divisions of Chittagong to the southwest andDhaka and Mymensingh to the west. Sylhet Division area 12,298.4 Sqkm, located in between
23°58' and 25°12' north latitudes and in between 90°56' and 92°30' east longitudes.

Why Sunamganj district is selected for research study
Among these four districts under Sylhet division, Sunamganj district has been selected for the
conduction of this research because:•

The creature of Dhamail song and dance, Radha Ramon Dutta known as Radha Raman
Sylheti folk music composer and poet born in Sunamganj district.

•

Baul Samrat (Baul King) Shah Abdul Karim was born on 15 February 1916 in Derai
Upazila, in Sylhet.

•

Sunamganj is very well known for Dhaka Ahsania Mission (DAM) as DAM has been
implementing its partnership project with Unicef namely Let Us Learn (LUL) project in
two Upazilas in this district.

Therefore, DAM proposed and selected this research study in Sunamganj for a meaningful withauthentic and more informative study.

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A brief of Sunamganj district and target location

Research area
DAM LUL Project-Sunamganj district is bounded on the north by Khasia and Jointa hills of Meghalaya state of India,
on the east by Sylhet district, on the south Kishoreganj & Hobiganj districts and on the west by
Netrokona district. Surma, Kushiyara, Dhamalia and Jadukata are the main rivers of Sunamganj
district and is widely known for existence of a large number of haor Average household size is
5.58. The haor area is one of the ‘highly food insecure’ regions of the country. A large numbersof extremely poor or hard-core rural people live in the haor area, have breakeven with no surplus
food or deficit or have month/s of food deficit. One of the reasons behind food shortage is crop
loss due to early flash flood and / or lack of income from their livelihoods means. It is clear fromthe survey and validated by FGD data that the majority of the people receive their income fromagricultural crops (reflecting a dependency on haor land for rice cultivation), river or water bodies’
i.e. through fishing, day laboring in particular in the lean season. Haor is very famous for its fish
production. A large portion of peoples’ livelihood and income source is haor. According to the
BBS Population Census 2011, the total population of this district is 2467966 of which 10.38%
constitute urban population and 89.62% constitute rural population. Among the total population
1236106 (50.09%) is male and the remaining 49.91% is female. The majority population is Muslim
as other districts of Bangladesh. It shows Muslim 86.89%, Hindu 12.94%, Christian 0.12% andPage 35 of 93

others 0.5%. Literacy rate (of 7 years and above population) shows discouraging and decreasing
literacy rate for male and increasing trend for female literacy considering the last two decades.
According to the BBS 2011 population census, literacy rate of this district is 34.98% of which male
literacy rate is 36.86% and female literacy rate is 33.12%. This district consists of 11 Upazilas, 87
union Parishads, 1599 mouzas and 2887 villages. 4 municipalities, 36 wards, 139 mahallas,
Upazilas are:
Derai Upazila
Dowarabazar Upazila
Tahirpur Upazila
Dharmapasha Upazila

Bishwamvarpur Upazila
Jagannathpur Upazila
Sunamganj Sadar Upz.
Sulla Upazila

Chhatak Upazila
Jamalganj Upazila
South Sunamganj Upazila

The above highlighted upazilas are selected for research study. The Let Us Learn (LUL) project has
been implementing in the South Sunamganj and Bishwamvarpur Upazilas of Sunamganj District.
South/Dakshin Sunamganj
upazila is bounded on thenorth by Sunamganj Sadar
upazila, on the east by
Jamalganj upazila, on the
south
by
Derai
and
Jagannatthpur upazilas, on
the west Dewanbazar andChhatak upazilas. Total areaof this upazila is 303.17
Sq.km. This upazila consistsof 08 unions - Durgapsha
union,
Joykalasunion,Pathria union, Shimulbag
union, Paschim birgaon
union, Paschimpagla union,
Purbabirgaon union andpurbopagla union. The total
population of this upazila is183881 of which 178700
rural population and 5181
urban population. The total population 90997 (49.49%) is male and the remaining 92884 (50.51%)
is female. The Majority population 166008 is Muslim followed by Hindu 17771, Christian is 5,
Buddhist is 15 and others are 82. The total literacy rate is 32.3% of this upazila, of them 33.75%
is male and remaining 30.89% is female. Jaykalosh union (marked in the map) is the target union
for this research study.

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Bishwamvarpur upazila isbounded/borderedbyMeghalaya state of India on thenorth, on the east by
Sunamganj Sadar upazila, on
the south by Jamalganj upazila
and on the west Tahirpur andDharmapasha upazila. Total
area of this upazila is 248.63
Sq.km. This upazila consists of
05 unions – Dakshin Badaghat
union, Dhonpur union, Fatepur
union, Palash union and
Sholukabad union. BBS 2011
population Census shows thatthe total population of thisUpazila is 156381 of which
153225 rural population and
597 urban population. The total population 78175 (49.99%) is male and the remaining 78206(50.01%) is female. The majority population isMuslim followed by Hindu. The Majority
population 138597 is Muslim followed by Hindu
17678, Christian is 58, Buddhist is 1 and others
are 47. The total literacy rate is 34.57% of thisupazila. Palash union is the target union for thisresearch study.
Derai
isboundedby Dakshin
Sunamganj and Jamalganj onthenorth, Sullah, Baniachong and Nabiganj on thesouth,
Jagannathpur on
the
east,
Sullah, Khaliajuri and Jamalganj on the west.
Total Area of this upazila is 420.93 Sq.km. Thereare 24 rivers – Kushiara, Kaloni, Piayeen, mora
surma, dhahuk etc. and 16 haors in the Derai
upazila. There are 9 unions of this upazila –Rafinagar, Vatipara, Razanagar, Charnarchar,
Derai Soromongol, Karimpur, Jogodol, Tarol andKulonjo. The total population of this upazila is243690 of which 122636 is male and the remaining 121054 is female. The majority population isMuslim as other districts of Bangladesh. It shows Muslim 68%, Hindu 31% and others 1%.
Rafinagar union is the target union for this research study.
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Tahirpur is bounded by the Indianstateof Meghalaya tothenorth, Jamalganj and Dharmapasha Upazilas on the south, Bishwamvarpur Upazila on the east,and Dharmapasha Upazila on the west. Total Area of this upazila is 313.70 Sq.km. There are 05
rivers – Boulai, Jadukata, Patlai, Maharam and Paikertota. A total population of about 155,000,
with a sex ratio of about 51.9% male to 48.1% female. Tahirpur has 7 Unions- Uttar Bardal,
Badaghat, Uttar Sreepur, Tahirpur, Dakshin Bardal, Dakshin Sreepur, and Balijuri. The population
is overwhelmingly Muslim, with about 9.8% Hindu, and less than 0.5% other religions. Tahirpur
union is one of the target unions for this research study.
The Beauty of Sunamganj Haor

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Chapter-7: Findings, Conclusion and Recommendations

Page 39 of 93

Findings, Conclusion and Recommendations
There are many activities have been carried out for making the atmosphere and conducting the
research Dhamail as Intangible Cultural Heritage of Sylhet division. All activities mainly based on
the research methodologies to get an overview and the present situation and practices of
Dhamail in the targeted areas. The following activities have been carried out during the phase-I
and findings are:Desk Review
Dhamail and its Origin
History witnesses that Radha Ramon Dutta known as Radha
Raman, was an influential Sylheti folk music composer and poetfrom the Sunamganj district in Sylhet of Bangladesh. Radha
Raman Dutta was born on May 25, 1833 in a Kayastha family invillage of Keshabpur in Jagannathpur Upazila in Sunamganj
Districtof
Bangladesh.
Dutta's Vaishnavism (worshipof Krishna) shaped his musical work and led him to a lifeof asceticism. Dutta was also heavily influenced by
the Sufism that infuses Baul culture. Raman died in 1915. He is
considered as the father of Dhamail folk dance and music.
Dhamail is a form of folk music and dance originated in Sylhet
division of Bangladesh. Dhamail is practiced in theerstwhile district of Sylhet in Bangladesh, it is found in somewebsites that the Dhamail practiced in greater Sylhet andgreater Mymensingh districts of Bangladesh. Needless to saythat Sylheti 5 culture especially Dhamail, somehow influence tosome parts of Assam, Tripura and Meghalaya states of India suchas Cachar, Karimganj and Hailakandi Districts of Assam, partsof Tripura and parts of Shillong under Meghalaya statesof India 6 . It is also found from the other documents that the
Dhamail variant is Dhamal or Dhamali. Dhamail is mainly
ritualistic dance and song of women. Hindu girls perform
Dhamail or Dhamali dance and songs with pomp and grandeur
on the occasions of certain religious rites, different religious
festivals and birth and marriage ceremonies. Ideally Twenty totwenty-five women stand in circle in the yard and perform this rite.
Generally, at least 8 and maximum 30 women could perform
Dhamail. It accompanies the use of mirdanga 7, kartals 8 and many

Radha Raman

Shah Abdul Karim

5 Sylheti: A native or inhabitant of the region around Sylhet, a city in north-eastern Bangladesh. 'For non-Bangladeshi readers, the Sylhetis are

originated from Sylhet, a district of Bangladesh and they represent the most Bangladeshi migrants to UK starting from early twentieth century. ' Oxford Dictionary on Lexico.
6
Barak Upatyaka Banga Sahitya O Sanskriti Sanmilan (BUBSSS) of Assam.
7 Mandira (instrument), consisting of a pair of metal bowls used for rhythm effect mainly used in India and Bangladesh.
8
Khartal is an ancient instrument mainly used in devotional / folk songs. It has derived its name from Sanskrit words ‘kara’ meaning hand andPage 40 of 93

other musical instruments which are usually played by the males while the dance is being performed.
This dance form is similar to musical chairs, where one by one the dancers are removed by the dancers
who can dance very fast as the beats gear up the speed. This dance form mainly relates the loveof Radha and Krishna and the inner significance of this dance form is that the newly wedded couple
must unite their souls in such fashion. There is history witness also that Radha Raman and Arkum
Shah have been cited as having introduced the Dhamail dance tradition in Sylhet region. Arqum Shahis basically a composer of spiritual and devotional songs. Shah Arqum Ali (known as Arkum Shah) bornin 1877 in Sylhet and died in 1941. His tomb is in Dharadharpur, South Surma Upazila, and Sylhet. He
was a spiritual saint and Sufi in Bangladesh. Beside this, Baul Samrat (Emperor) Shah Abdul Karim wasborn on 15 February 1916 in Derai Upazila, in Sylhet. He first learnt music from Baul Shah Ibrahim
Mastan Baksh. Died in 12 September 2009 (aged 93), Sylhet, Bangladesh. Derai has a rich culture
because of its music and literature. He wrote and composed over 1600 songs.

‘tala’ meaning clapping. This wooden clapper is a Ghana Vadya which has discs or plates that produce a clinking sound when clapped together.

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Photos collected from secondary source- performance at Shilpokala academy

The ICH Element- Dhamail
Dhamail dance is performed by a group of ladies. Ladies move in circle clapping their hands toPage 42 of 93

the beat of the music. The songs are first sung by the leader and then the others join the chorus.
The ladies wear sharee in Bengali style while performing this dance form. The lyrics mainly relate
to Shyam (Krishna) and Radha. Gradually the beat/tempo increases and finally reaches the
crescendo. Breaks are then given, so that the ladies can have paan and guava or tea. The dance
form is performed during almost every occasion. The Dhamail songs vary from festival to festival.
For Marriages, Annaprasan, Dol Purnima, there are different lyrics of Dhamail songs.
KartalKaratalRadha Krishna

MondiraShareeDholakHarmonium[The word Annaprasan is made up of two words, Anna meaning "boiled rice" and Prasantranslates to "Feeding". It is usually carried out when the child is six to eight months old — odd
months for girls and even months for boys -when the teeth have begun to appear, though thechild may be weaned at a later time. Annaprasan is an occasion for celebration, and extended
family, friends and neighbours are invited to attend. The ceremony is usually arranged inconsultation with a priest, who arranges an auspicious date on which to conduct the ceremony.
The ceremony is referred to in English as first eating of food.
Dol Purnima or Dol Jatra is a major festival of the East (Bangladesh) and West Bengal (India),
Oddisha and Assam (India). This festival is dedicated to Sri Krishna. He elevated the passion ofRadha and Krishna to a high spiritual plane.]
In fact, every ritual of marriage has a different Dhamail song. These dance forms do not include
any other instruments apart from hand claps and sometimes 'karatal' is used. Other sources
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explained the song and dance is mainly performed by the womenfolk during marriages and otherauspicious occasions. The ladies move in circle, clapping their hands to the beat of the music. The
songs are first sung by the leader and then the others join the chorus. The lyrics mainly relate to
Shyam (Krishna) and Radha 9. Gradually the tempo and dynamics increase to a peak. Breaks arethen given so that the ladies can have paan and supari and/or tea. Sylheti folk music
composer Radha Raman and Arkum Shah 10 have been cited as having introduced the Dhamail
dance tradition in Sylhet region.
[In Bangladesh paan (leaf) is traditionally chewed not only as a habit but also as an item of rituals,
etiquette and manners. On formal occasions offering paan symbolized the time for departure. In
festivals and dinners, in pujas and punyas paan is an indispensable item. Hindus make use ofPaans as offerings in worship. Usually for chewing, a few slices of the betel nut (superi) arewrapped in a betel leaf, almost always with sliced areca nuts and often with calcium hydroxide(slaked lime), and may include cinnamon, clove, cardamom, catechu (khoyer), grated coconut andother spices for extra flavouring.] .
This intangible cultural heritage transmitted from generation to generation, is constantly
recreated by communities and groups in response to their environment, their interaction withnature and their history, and provides traditions bearers with a sense of community.

Betel Leaf

Betel Nut

Prepared Paan

9Radha-Krishna are collectively known within Hinduism as the combined forms of feminine as well as the masculine realities of God. Radha, in
Hinduism, the gopi (milkmaid- faminine) who became the beloved of the god Krishna during that period of his life when he lived among the gopas(cowherds) of Vrindavan. Radha was the wife of another gopa (masculine but was the dearest of Krishna's consorts and his constant companion.
10 Shah Arqum Ali (born 18 - died 1941) was a spiritual saint and Sufi in Bangladesh. Arqum Shah is basically a composer of spiritual anddevotional songs

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Consultation meeting Ministry of Cultural Affairs
A consultation meeting was organized and held at the Conference room of Ministry of Cultural
Affairs (MoCA). Mr Ataur Rahman, Joint secretary (Budget & Audit) of MoCA presided thisconsultation meeting. Ms Zohora Khatun- Deputy Secretary, Ms Jesmin Nahar- Senior Assistant
Secretary of MoCA were participated in the consultation meeting; Md. Shahidul Islam- Head ofProgram (Education), Ms Farhana Begum – Training Coordinator, ABM Shahab Uddin- CoResearcher and, Kazi Ariful
Huda
–
Team
Leader(Researcher) of DAM wereparticipated in the meeting. An
overview of the Research on
Dhamail ICH’s Contribution to
Sustainable
Development:
Education and Community
Development, its objectives,
target areas and researchmethodologies
hasbeenshared in the meeting for theconceptual and perceptual
clarity. Mr Ataur Rahman
explained that he worked in the
Sunamganj previously and he explained about the Dhamail from his experience and he agreed
with research on ICH in Bangladesh is very important to sustain these ICH for the generation ofcommunity development otherwise these will disappear from the culture. Ms Jesmin Nahar,
Senior Assistant Secretary of MoCA added that the government has a plan to prepare an inventory,
this research would be more helpful for ICH in Bangladesh. Ms Zohora Nahar, Deputy Secretaryexplained that meanwhile government started some work with Shilpokala Academy under MoCA
on various cultural activities and government has a plan to established a cultural museum at
upazila level. At the end of the consultations, Mr Ataur Rahman expressed that the MoCA will
provide management/ coordination support and cooperate at field level for research activities if
required. This consultation meeting was a great achievement in involving government and awarethem on this research and its activities. List of the participant and meeting notice enclosed in the
Annex-5 and 5.1.

Consultation Meeting with the District Cultural Officer of Sunamganj
A consultation meeting with Mr. Ahmed Monzurul Hoque Chowdhury, District Cultural Officer ofSunamganj was held at the District Cultural Academy (Zila Shilpakala Academy). Form thediscussion it was found that Sunamganj district is a cultural heritage place of Sylhet division in
Bangladesh. Dhamail is a very popular song and dance, Radha Raman Datta is known as the fatherof Dhamail. Previously Dhamail was very common in the community, if some women get together

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inthehomestead/courtyard
besidetheirconversation;
theystarted Dhamail as arecreational
activity
and as a worship of God
Kishna and Radha. Day
by day Dhamail isevolving in a new shapewith modern costumeandchoreography,
keeping with modern
culture and humandesiresandpreferences.
This
academy is providing A consultation meeting with Mr. Ahmed Monzurul Hoque Chowdhury, District Culturaltrainingtosome Officer of Sunamganj
selected dance andsong artist, these artists perform Dhamail in the gigantic cultural programs. These steps are notsufficient to make Dhamail protect and safeguarding in the community level, due to the lack ofsupport and practice, this is going to evaporate from the community. Dhamail is exiting in thecommunity during marriage ceremony mainly. Mr. Chowdhury appreciated that the researchstudy as ICH and recommended that formation of Dhamail Cultural Organization in the upazila(sub-district) is very important and introducing Dhamail with the school co-curriculum activities
for safeguarding. Therefore providing training to the cultural organization and school teachers isessential, Academy could provide training support.

Orientation on the Research for the Research TeamOne-day hands-on orientation training was organized
for the Research team members on 28 October 2020
held in Sunamganj conducted by the Team Leader(Researcher) and Co-researcher. The objectives andcontents of the orientation were: the project briefing
including its
objectives,
researchmethodologies, how to conduct Interviews following
questionnaire, how to conduct FGD an consultations
following semi-structured questionnaire, how torecording/notes of the FGD and consultations, Area
mapping and identify the persons for Interviews, FGD
and consultations for information/data collection andPage 46 of 93

listing considering the gender aspect, caste, religion, class, youth groups, occupations, culturalgroups/persons; and preparation of work plan and targets. There are 15 numbers of researchteam members – supervisors, data collectors, co-researcher and team leader were attended in
the orientation training course. Moreover, Project Manager, Technical Coordinators of Let Us
Learn project attended also who has provided sincere support and assistance on the day to day
work progress monitoring and day-to-day problems and provide support accordingly. Field teston the questionnaire and data collection process were organized to make the research members
more clear and their conceptual and perceptual clarity through hands-on skills development. Listof the participants enclosed in the annex-6.

FGD/ Consultations in Badaghat Union under Tahirpur Upazila
Let Us Learn Project officials and Data Enumerator & Supervisor have organized a FGD/
Consultation meeting at Badaghat nears the tomb of Hazrat Shah Arefeen (R) under Tahipur
upazila. There are 17 participants of them 11
male and 6 female. Let us Learn officialsTechnical Coordinator, Programme Officer andUpazila Coordinator were present. Team Leader(Researchers) and Co-Team leader conducted
the FGD/Consultations. Participants were Union
Chairman (Senior Citizen), Rural Doctor, Cultural
Performer Group, Singer, Instrument player,
Song/lyrics/writer, Journalist, local government
women member and others from the Muslim
community actively participated in the
FGD/consultations, it was found that thecommunity people are very much familiar with
the Dhamail Song and Dance. List of theparticipants in Annex-7. Respondents sharedthat they performed/ participated in Dhamailfrom their childhood. There is a river underTaherpur Upazila named Dhamail river, theyexpressed that the name of the river might becomes from the Dhamail Song and Dance or thename of Dhamail song & dance from the nameof the river viz-a-viz. Respondent also explainedthat Dhamail take place at any time beside the festivals and occasions.
Haor is low-lying land where six months it keeps under water mainly in rainy/ monsoon and othersix months is dry seasons. During the monsoon, there is no work and no cultivation to grow crops,in those days’ inhabitants organizes Dhamail at the courtyard/ homestead as amusement. Mainly
women and girls take part in the Dhamial song and dance. Male supports by playing musicalinstrument- harmonium, kartal or drum. There is no specific song for Dhamail and Dance, but
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there is a special melody for Dhamail that follows without any variations. Baul Song of Shah Abdul
Karim and Arkum Shah are very popular in the Muslim community for Dhamail Song and Dance.
Performers sing song Baul, Sufi, Murshedi on the Prophet and on the Islamic Saint following the
Dhamail song & dance style. Dhamail song and dance performs with least 9 members/performers
and highest 20/30 performers in marriage ceremony. Dhamail song and dance follows a style thatall performers stand in a circle, one performer lead song and dance and others follows her. No
one stays in the middle but music and other instruments plays from outside the circle sometimes
in the middle also. Dhamail song and dance performs mainly by the women and musicalinstrument plays by the males. Harmonium, Dholak (drum) and kartal uses in Damail Song anddance following the beat of Dholak.
Respondents explained that Dhamail song and dance can take place at any time even a group of
women get together after their household work. Therefore, special costume not necessary but inan occasion, performer wear her own best sharee (like everyone wear best clothes attending in
any occasion). In the rural area only, clapping is used instead of musical instrument mostly.
In the urban, respondents noticed that some changes in the melody & tune following the modernmusical instrument introduced. Though there were no specific costume for Dhamail song andDance but now there are colourful sharee and standardization maintained during the big
occasions. Sameness sharee uses in the community or in big program arrangements.
Currently, Dhamail is going to be disappeared from the community due to lack of support and nocultural organization established to practice and continue Dhamail for its existence. Baul folk songis getting more preferences in the community. There are two types of songs in the community
based on the religion such as Hindu community sing song for Dhamail on the history of Radha
Krishna following the lyrics of Radha Raman and Muslim follows the Muslim Saint and Prophet
using Sufi or Murshedi. Singing song based on the daily life of the poverty-stricken people
following Dhamail style in the haor areas too.
There is no religious obstruction and conflict for performing and organizing Dhamail. Hindu
organizes Dhamail for their religious purpose as they think it’s a worship for Radha Krishna. And
Muslim organizes for religious purpose too. But both attend in the common functions – marriage,
day observance of national days, school functions, community gathering and ceremonial events.
There is no writer for developing the Dhamail song on the present situation and social problems
due to lack of financial support. Writer and performers including singer are engaged at different
work for their livelihood.
When Dhamail take place in the School Cultural Functions or common festivals, Dhamail songarticulate on the baul, modern, country song and other folk songs such as Hasonraja but noreligious song follows. In those functions or festivals all level of community people irrespective ofcaste, religion, groups, class participate, perform and enjoy Dhamail. School and community
functions held to celebrate national day observance, Bangla New year and international day
observance.
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In addition, the respondents highlighted that Dhamail song and dance way-out the community
people from the anti-social activities fascinatingly. During the natural disaster and lean period, allpeople are obstructing and reside in their own house or others house, there is no work due toflooding & water logging in the entire area as low-lying land, in those days they do Dhamail songand dance in the courtyard to relief from the stress, trauma and engaging everyone in thepeaceful entertainment and learning. Dhamail is the culmination of the Sylheti tradition ofenjoying festivals and keep people connected to their roots, while providing a much-needed
boost to the incomes from reach people of society. Dhamail can be seen as a driver for socioeconomic growth which is accessible for all social groups to alleviate poverty. Finally, this dance
boosts the local economy through its short term as well as youth engagement in the local culture.
The cultural group shared that once Naari Uddokta Society (Women Entrepreneur Society) hireda twelve-member team mainly women for a three-day performance in their occasion and earned
forty thousand taka for the performance. Another respondent shared that he was hired for a day
and earned three thousand five hundred taka. Some other shared that Baul song is very popular
now than Dhamail because the singer and musical team earn twenty thousand taka to fifty
thousand taka. Dhamail is disappearing from the community due to the practice and poverty.
Respondents explained that Dhamail could be a one of the best media for social awareness andlearning method for the school education. Such as other folk song or dance includes only few
performer – singer, musician and formal dancer where in Dhamail everyone is a performer andtake part actively. If the cooperation and financial support provide to the performer/writer towrite song on social awareness (on consequences of drug, dowry, child marriage, importance of
education, afforestation, natural disaster, health and hygiene etc.), Dhamail could be
implemented in the educational institute on as well as in the community. Dhamail could be
integrated in school education for early grades such as naming, number counting, Alphabet
learning and pronouncing, social studies, and physical education and so on.
Moreover, training is an important component for the new generation especially youth forundertaking the responsibility. As described that Dhamail is going to disappearing from thecommunity, Dhamail organization could be established in the Upazila or union level where
performers and youth could practice and sustain Dhamail for generation to generation and toprotect and preserve, not only religiously but for the people of Sylhet which make the community
free from all kind of discrimination and abuse and way-out communal feelings by establishingpeaceful, gender sensitive and friendly environment.

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FGD with Youth group in Palash Union under Bishwamvarpur Upazila

community. List of the participants in Annex-8

FGD with youth group was organized in
Palash village of Palash union under
Bishwamvarpur upazila. Similar to Tahirpur
Let Us Learn Project provided support inorganizing the FGD beside the data
Enumerator and Supervisor of this research
Study project. There are 27 youths
participated in the FGD of which 21 girls and
06 boys. Let us Learn project officials, Data
Enumerators and Union Supervisor of thisresearch study were present in the FGD
meeting. Team Leader (Researchers) and Coresearchers conducted the FGD meetings. It
is noted that the Palash village is a Hindu

The respondents explained that Dhamail is very much well-known in this community as their
Sylheti and religious culture. They learn Dhamail from their mothers and their mother’s learnt
from their grandmothers. It indicates that the Dhamail is following and practicing in the Hindu
community from generation to generation. It is worship to Radha and Krishna for the Hindu
community when they recite the story of Radha and Krishna. Dhamail song and dance accordingly
is a pragmatic step by step story of the life and love of Radha Krishna. Dhamail organizes sociallyduring Puja festival and in marriage ceremony. In addition to Dhamail organizes and perform at
any time in the family and in the community.
Respondents explained that during festival if the Dhamail performance liked by the audience,
they pay some money to the performer. There is no such tradition to pay for the Dhamail
performance. They also shared that there were Dhamail on the social issues previously. Dhamail
could be a instrument of awareness creation COVIT-19. Dhamail could not be performed
individually, it needs at least 6 and maximum 30 persons. Male and female both can perform
Dhamail but women mainly perform song and dance, male plays musical instrument such as
harmonium, table or Dholak (drum) and kartal. Clapping is the key ornament of Dhamail song anddance. Dhamail is very much acceptable to all religion and all Sylheti perform and like Dhamail.
There is no conflict or barrier in connection to the religion. It’s a Sylheti culture. Rehearsal is not
required for Dhamail but if new song or new writing that should need to practice forunderstanding the words and fit into the Dhamail style.
One of the respondents expressed that though there is no specific costume for Dhamail but
sometimes group decides to wear sameness sharee such as red and white or yellow. Dhamail is
not only Radha Krishna, but about the relationship between mother in law & bride and romantic
song also includes in the Dhamail. Dhamail develops the relationship between family to family
and family to community and also develops friendship. It is interesting that in some cases
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especially when arranging marriage, knowing and performing Dhamail is one of the criteria forgirls.
Respondents explained that to achieve the goal of SDG 4.7 & 11.4, social issues for awarenesscreation could be included in Dhamail but lyrics are needed to develop by the writers. Dhamail
could be included in the school cultural functions, Dhamail could be a regular activity in the school
as co-curriculum, one teacher could take the responsibility is not cultural teacher.

FGD with Teachers in Rafinagar Union under Derai Upazila
FGD with Teachers was held in Rafinagar
Union High School. 09 teachers participatedin the FGD. From the FGD it was found thatamong 09 teachers, 07 teacher’s village
home is in Netrokona (nearby district ofSunamganj and under Mymensingh
Division) and they have never seen Dhamailsong and dance and not familiar with
Dhamail but they heard about it. Other 2teachers are from Rafinagar and they
explained that Dhamail is practiced by the
Hindu community regularly as the worshipof God Krishna and Radha mainly. Dhamailsong and dance is story of God Krishna and Radha. However, style of Dhamail song dance follows
in marriage ceremony using the different folk song such as Hason raja song, Baul song and modernsong. Senior Citizen’s tries to keep the heritage alive but new generation likes modern music
which influence them by the modern song and music. Furthermore, online and internet influence
the community culture. List of the participants in Annex-9

FGD with mixed group in Rafinagar Union under Derai Upazila
Another FGD was organized at Khagaura
Village in Rafinagar participated where 14
community people of different profession
were attended in the discussion. They are:senior citizen (age between 60-80 years),
Teacher, Farmer, Priest, Artist and student.
From the discussion it was found that before
1947, Sunamganj was under Assam provinceof India as a sub-division. Socio- economic
culture was very analogous between othersub-division of Assam and Sunmganj such as
Habignj, Sylhet and Moulvibazar (currently
district of Bangladesh) were the subdivisions of Assam along with Karimganj and Hailakandi sub-division (currently in India). Radha
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Raman Datta is a famous folk music composer and poet. Dhamail song and dance is a recreation
and as worship of God Krishna and Radha. Dhamail song is a story of God Krishna and Radha frombeginning to end their love, separation, happiness and sadness. Gradually this song is changed
and included other folk song such as Baul folk song but style of dance not reformed.
Chronologically, Dhamail song and dance is included in the marriage and other social function byusing other folk song. Dhamail became a tradition of greater sylhet. Respondents explained thatthey came to know about this dhamail from their parents. Respondents expressed that during
flood and all lands was under water, every homestead there were took place Dhamail for worshipand recreation. There were no training required for Dhamail song and dance because it was a
tradition of every household to teach their children how to Dhamail song and dance like cooking
and household work. Dhamail song and dance is for the women only; women sang song anddance according to the rhythm of clapping. There were no musical instruments required. Later,male were included with this song and dance by playing musical instrument from outside thecircle of women’s dance. Currently, youths and new generation is interested with the modernsong and dance and attractive musical instrument, and influenced by the online, internet and TV
programs. It is essential to protect this traditional culture otherwise it will be vanished from the
Sylheti culture. Responded Teachers recommended that this could be included in the curriculum–in social studies as sylheti culture and expressed that there is included all culture in the social
Studies. Furthermore, Dhamail could be included in the co-curricular activities with education.
Other respondents described that Sunamganj is a tourism place, so that cultural institution could
be developed as a part of tourism, tourist will be enjoyed and familiar with the Sylheti culture
Dhamail. This will be developed as a profession and artist will be benefited financially and they
could able to maintain their family. Youth and adolescent group could be developed in school,community and education institution. List of the participants in Annex-10

FGD with teachers group in Joykolosh Union under South Sunamganj Upazila
FDG organized at Joykolosh Union in South Sunamganj and 10 teachers from different school andcollege were attended in thediscussion. Respondents explainedthat Dhamail is a tradition of Sylhet
division and it is a traditional Sylheti
culture. Dhamail is popular mostly in
the Hindu community. Muslim
community do not participate in the
Dhamail take place in Hindu
community but there is no conflictor barriers. Dhamail in Hindu
community organizes on the God
Krisna and Radha for worship thus
Muslim community people do nottake part in the worship of God
Krisna and Radha. But Muslim
community take part during other functions such as marriage ceremony, birth day etc. Muslim
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community organizes Dhamail in Marriage ceremony and other social events by using Baul,
Murshedi (Muslim spiritual) and other folk and modern song. Both take part in the national andinternational day observance where Dhamail is the main attraction of the events. There is a scope
to include Dhamail in the school curriculum and co-curricular activities. Due to the modern
culture, Dhamail is much neglected in the community comparing the old days. Protection andsafeguarding, Dhamail should need to practice as the old days by organizing artist/cultural group,
youth group, community leaders, adolescents and parents especially women. List of theparticipants in Annex-11

Observation
Dhamail Song and Dance was observed in
Palash village under Bishwamvarpur upazila; inthe Khagauraa Village of Rafinagar; and in the
Ujanigaon Village of South Sunamganj. Without
any shilly-shallying, youth girls and women
performed Dhamail Song and Dance in all

locations except South Sunamganj with any
hesitation. It shows that its’ a regular worshipof Radha Krishna, therefore there is noconservativeness in performing the Dhamailin front of stranger. They also performed
Dhamail that organizes in the Marriage
Ceremony. This was very helpful for the Researchers to understand and conceptualize the melody,
lyrics, style and rhythm of Dhamail song anddance. List of the performers in Annex-12A &12B, 12C

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Differences/ Variations
From the discussion and observation, it was found that there are two categories of Dhamail song
and Dance- one is for religious and other is for general.
Religious:
Hinduism faithAs various devotees worship Radha with the understanding of her merciful nature as the only way
to attain Krishna and it is believed that Krishna enchants the world, but Radha enchants even him.
Therefore, she is the supreme goddess of all and together they are called as Radha Krishna.
Dhamail is honoured as Religious worship that includes Radha Krishna for Hindu religious faithand entreaty. It may honour or celebrate the presence of special guest(s), or their memories after
they die. Reverence, honour, homage, adoration and worship and is the essential ritual of
Hinduism. As the Sylhet was as a district/subdivision of Assam in India, the Sylheti culture
influence in the Assam and Dhamail is very popular for the worship of Radha Krishna andsustaining there as a part of Hinduism faith.
Islamic faithMuslim community follows Sufism and Mazar based Dhamail song and dance. Sufism, as
the mystical dimension of Islam, preaches peace, tolerance and pluralism, while encouraging
music as a way of deepening one's relationship with the Creator. "Mazar" "a place for visit", it
usually refers to the tombs of Islamic saints or famous people. People worship mazars on certain
or uncertain dates, in the hope of getting blessing for good harvests, health, the birth of children,and so on. Muslim community follows Baul, Sufi, Murshedi, and Kawali when they perform
Dhamail.
GeneralBeside the religious based Dhamail Song and dance, the both community take part in thecommon program and perform Dhamail Such as National Days Observance such as Independence
Day, Victory Day, Bangla New Year etc. and International Day Observance such as International
Literacy Day and so on.
Considering the above, Dhamail Song and Dance organizes or performs based on the religious
faith and people participate in the Dhamail Song and Dance according their own faith. It means
all community people respect all religions and do not disapprove of or make commotion on toeach other religious faith. On the other hand, the community people get together in various
occasions irrespective of the race, colour, sex, language, religion, political or other opinion,
national, ethnic or social origin, property, disability, birth or other status. This develops bond forinterpersonal relationship and effective communication among community people in the samemanner.
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Dhamail in Rural Context
As described above, Dhamail song and dance in the rural areas is very natural where there is noneeded any particular costume and musical instrument. Dhamail is performing at any place evenat the courtyard/homestead premises. In the rural areas where there is no any musical instrument
women performing Dhamail by clapping and clapping is the main ornamental attraction of
Dhamail in the rural areas. In the rural areas Dhamail song and dance take place at any time even
if more than eight women gather for conversation and interaction with each other after theirhousehold work, in that time if they wish they perform Dhamail. In the present days women or
girls wear sameness sharee to perform Dhamail at the rural functions or cultural events andmarriage ceremony. Dholak, harmonium, kartal are the Musical instrument that use in the rural
areas. Women sing song and dance following the Dhamail style and male are playing musicalinstrument. In some cases, male participates in the performance of Dhamail Song and Dance but
male performance is not essential.
Dhamail in Urban Context
From the consultations it was found that Dhamail in the urban area is very formal and Dhamailorganizes formally such as in the marriage ceremony, cultural function at the town hall or in thecomprehensive colourful program for national and international day observance in presence ofHigh officials and government personnel such as MP, Minister, Businessman, famous personnel
and other political leaders etc. In the urban area Male and female both perform Dhamail. Styleand musical inclusion is modernized the Dhamail rather clapping, costume and musicalinstrument highlighted scrupulously.
Though the respondent described the differences between Urban and Rural Dhamail, more
information and observation is needed to conclude the actual differences.
Relationship between Dhamail as ICH and SDG 4.7 and SDG 11.4
From the consultations, it was found that Dhamail could keep an active role in achieving SDG 4.7& 11.4 by social inclusion and introducing in the school education and non-formal education. As
described above, Dhamail could be included in the school education system such as including in
the co-curriculum activities- recital rhymes & poems, song & dance, storytelling, practicing inlearning early grades- learning alphabets, numbers, multiplication tables. Formation of a culturalgroup in the school and college or university level and will perform during the school cultural
program and in the local and national level program. Training is an integral part of developing
skills of the youths and, cultural forum members to protect, preserve and, safeguard of ICH thatwill continue from generation to generation. Dhamail is an example of building relationshipbetween the people of different religious faith, involving women actively, interpersonal
relationship development, reducing the domestic violence, gender sensitive and active
participation of all level of community people.
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This will ensure SDG 4.7 that all learners acquire the knowledge and skills needed to promotesustainable development, including, among others, through education for sustainable
development and sustainable lifestyles, human rights, gender equality, promotion of a culture ofpeace and non-violence, global citizenship and appreciation of cultural diversity and of culture’s
contribution to sustainable development. A cultural organization needs to establish at the Union
or Upazila level involving the singer, writer, musicians, Dhamail dance performers who will
represent as an ambassador of Dhamail. This will assist to strengthen efforts to protect andsafeguard the local cultural and natural heritage to achieve SDG 11.4 goal.

Findings from the Key Informant Interview
200 considerable and important people from the target areas were selected who could contributeand provide valuable information in connection to the Dhamail as a Sylheti traditional Cultureand 50 (25%) personnel from each targeted Union of each Upazila i.e. 200 of four Upazilas. Theinterviews were captured in the prescribed developed questionnaire.
(Summary/compiled answer in Annex-13)
It was found that 100% interviewees are agreed that Dhamail is very old folklore in this region.
100% interviewees are agreed that Dhamail is well known by all community. 65.5% interviewees
explained that Dhamail song & dance represents specific religion and 34.5% expressed that
Dhamail is not representing any specific religion. 20% interviewees agreed that the Dhamail
conflicts with any religion where the 80% interviewees disagreed. 99% interviewees have seen
and enjoyed Dhamail Song and Dance. 47.5% interviewees participated in the Dhamail Song orDance where 52.5% interviewees never took part. 87% interviewees expressed that male andfemale both together participate in Dhamail where 13% disagreed. 1.5% interviewees explainedthat there is specific number of fixed participants to perform Dhamail where 98.5% explainedthat there is no fixed number of participants. 29.5% described that there is a system that Dhamail
dance should be performed with song where 70.5% disagreed with this explanation. 29%
expressed that there is specific costume and cosmetics for performing Dhamail where as 71%
disagreed with this opinion. 97% described that there is musical instrument uses in Dhamail Songand Dance where as 3% disagreed with this explanation. 84.5% explained that all people in thisregion perform Dhamail in a same stage together without discrimination of any kind ofoccupation or class (this means sex, language, religion, political or other opinion, ethnic or social
origin, property, disability, or other status) where as 15.5% disagreed with this explanation. 45.5%
answered that Dhamail organize in the wedding ceremony and 54.5% disagreed. 94.5% explainedthat Dhamail organizes in other events such as Nabanno, Choitro Songkranti, celebrating nationaldays, etc but 5.5% disagreed with this explanation.

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Which District Dhamail Prevalent Explained by
Respondents
Number of Respondent

According to the explanation of
the individual interviewee,
99.5% explained that Dhamailprevalent in Sylhet, Sunamganj
and Habiganj district; 98.5%
answered Dhamail prevalent in
Moulvibazar
and
29.5%
answered Dhamail prevalent in
Mymensingh district and 7.5%
expressed Dhamail prevalent inNetrokona district.

250
200

199

197

199

199

150
100

59

50

15

0

Name of District

73% respondents explained that
Dhamail popular in the whole
Sylhet region. 98.5% respondents explained that No specific name for recognizing Dhamail
performers. 99% respondents explained that 8-30 entertainers or actors or performers are
required to perform a Dhamail Song and dance. Female perform Dhamail Song and Dance, leadby one women and other follows leader and singing chorus but dance together in same steppingin a circle. Male plays musical instrument only. In Modern Dhamail song and dance, Male andfemale both perform together and Choreography is used and introduced in a new form of Dhamail.
There are no changes in song but Choreography uses in dance. Mainly the modern Dhamail danceis depends on the Choreographer.
73% respondents explained that their money require to organize a Dhamail ceremony minimum
BDT 1000 and maximum BDT 5000. The respondents expressed that the expenses depend on thenature of the decoration, audience and place. For a big arrangement such as during cultural showor day observance, the expense goes to BDT 50000 even. Performers costume required also.
100% respondents explained that Source of Fund:• Marriage or Birth day or family carnival or ceremony: Family provides Fund• Day observance and cultural Event: Community Contribution by rich people andindividual contribution of interested people.
• Religious festival: Community according to the religious faith contributes and developed
collective fund.
100% respondents explained that Dhamail is celebrated in any program organized• Social Program• National and International Day Observance- Independence & Victory day, New Year,
Women’s Day, Literacy Day, Child Rights Week and Child Day etc.
• Religious Festivals: Puja etc (Mainly in Hinduism)
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98.5% respondents like Dhamail program because:• Sylheti Culture as Sylheti Heritage• Dhamail is with the mind and heart of all sylheties• Enjoyable, attractive gesture in dance and song and excellent combination of both
• Increase knowledge on the God Krisna and Radha & love and about worship• Increase knowledge of Sylheti culture• Well-being of Health by Dhamail dance and song
• Leadership skills developed by lead the Dance and Song• Dhamail in Hindu community perform by women at any time anywhere in front ofknown and unknown people as a worship of God Krishna and Radha which recite step bystep story of God Krishna & Radha through Dhamail Song followed by dance.
1.5% respondents do not like Dhamail program because:• Origin of Dhamail song and Dance is a worship of God Krishna & Radha which is not
acceptable in Islamic Culture• But in Marriage and other festivals Dhamail Song and Dance is not on God Krishna andRadha, uses other folk song and Dance.
• More information on these need to collect from Muslim community by the researcher.
• Respecting all religions, many Muslim community people do not express their negativity
on origin of Dhamail. Muslim Community use the style of Dhamail following thedifferent song and call Dhamailla in Marriage ceremony and other festivals.
• Muslim women do not perform Dhamail in front of unknown people except own family
89.5% respondents answered that Dhamail is a just only entertaining cultural event for theoccasion or to celebrate a day. 10.5% respondents answered that Dhamail is not only entertaining
cultural event for the occasion or to celebrate a day explained above.
38% respondents answered that there is professional group for Dhamail who earns for their living
through it. Every performance rate is minimum BDT 500 to maximum BDT 5000. Minimum 3 andmaximum 30 performances take place in a year. 62% respondents answered that Dhamail
performs by the male, female, youth, adolescent, those who are skilled in Dhamail song anddance. They perform as an Artist and enjoy the event, not for earning.
38% respondents answered that the members of the Dhamail performers group manage theirfamilies with what they earn through this cultural work, where as 62% respondents disagreed andexplained that there is no professional Dhamail song & Dance group or individual and earning fortheir living and family maintenance. The performers of Dhamail are: house wife, youth andadolescent who are engaged in household work and student. Others including male (musician)engaged in farming/cultivation, service, trades etc. as a main profession. They perform Dhamailfor Worship or enjoy as recreation.
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Respondents expressed that Dhamail song and dance artist are poverty-stricken people. As there
is no earning from Dhamail song and dance, they engaged at different work such as day laborer
and working in the farming land as worker, with a very little educational qualification their income
is not sufficient than their family needs. Therefore, they are becoming extinct from their skills andperformance as artist. However, they are very much aware about the importance of educationand their children education.
4.5% Respondents expressed that there is problem/obstacle they face in organizing Dhamail ritual
because Muslim Leaders and influential do not like Dhamail and they protest and obstacles toperform Dhamail in the Muslim Community as they think it’s against Islam especially on the storyof God Krishna and Radha. But 95.5% respondents answered there is no problem/obstacle they
face in organizing Dhamail ritual
6.5% Respondents expressed that the performers use special attires/costume for the Dhamail
ritual - Performers use Colourful costume – red, blue, green, yellow etc. and performers use same
colour costume. Whereas 93.5% expressed that the performers do not use special
attires/costume for the Dhamail ritual.
2.5 % Respondents expressed that Dhamail performers of all places and all groups wear the sameprescribed special attires/costume. Performers use same colourful costume for making theperformance more attractive and enjoyable. And thus, all groups in all places, performers wear
same costume according to their own choice. 96.5% described there is no prescribed special
attires/costume.
100% Respondents expressed that there is some musical instrument used in Dhamail -Drum,drummer, Tabla (Drum), Harmonium, Mondira, Flute, Dish bowl etc. local musical instrument uses
in Dhamail.
78% Respondents expressed that Dhamail presented on theme or issues such as Orders andadvice, do's and don'ts, love and separation (God Krishna & Radha), mystic poets' biographies,
marriages, birth anniversaries, harvesting, religious and social issues, national and international
day observance and issues etc. 22% Respondents expressed that It’s a one of the Cultural
Activities for recreation only.
88% Respondents expressed that the community or people are being benefited by Dhamail. The
community people are benefited through Dhamail that includes Religious education (Hinduism),developing social bonding, education on Dos and Don’ts, Life oriented cultural practices. 12%
Respondents explained the community or people are not benefited from Dhamail.
83.5% Respondents expressed that there is differences between urban and rural Dhamail
performance. In Rural area, Dhamail follows its origin; Song and Dance is a combination effort ofrhythm. But in Urban, Dhamail is a Dance program using choreography by Choreographer. In rural,
local and available musical instrument use during Dhamail performance. But in Urban, modern
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piano, guitar, modern and digital Drum set, flute use according to the choreography. In rural,
Dhamail organizes at any place anywhere, but in Urban, Dhamail organizes in a big hall or hallroom. In Rural, no special costume is required for performers, even Dhamail perform withoutmusical instrument because clapping is the main rhythm for song and dance. In Urban, Special
costume is required according to the choreography. Stage, lighting and sound system is requiredin the Urban where as in rural, if a big cultural event only a Mick and stage is required and programorganizes in the day. 16.5% explained there is no differences between urban and rural Dhamail
performance.
83.5% Respondents expressed that there is differences between Dhamail performance of earlier
days and present days and 16.5% explained there are no differences between Dhamail
performance of earlier days and present days.
Dhamail in old days:••••

Depends on old folks
Less or no musical instrument use
Only clapping is main rhythm than any musical instrument
Organize in a small scale, at homestead/domestic, lively, sweet melody and original voice,meaningful and rural life oriented

Dhamail in present days:••••

Modern culture based
Modern musical instrument use
Refined melody and rhythm use
Chorographical dance introduced that the origin

76.5% Respondents expressed that Dhamail is being developed in a new form. Dhamail is being
developed in a new form that includes refined melody and rhythm, new form of dance withchoreography, modern musical instrument introduced lyrics with modern thought and culture,environment and costume introduced. Previously only women were performed Dhamail, now
male and female both perform together with colourful costume and training by choreographer.
33.5% Respondents expressed that Dhamail is not developed in a new form.
100% Respondents expressed that there is no reaction in the community (Religious andprogressive, rich-poor, young-old, men and women, professionally, farmers and fishermen,teachers and businesses, educated and illiterate) about Dhamail.
Dhamail influence in personal, social, educational life and harmony explained in the following:
What kinds of influence
How does dhamail influence
In personal life
Developed
realization
and Folk culture survives and practiced.
understanding, get acquainted, Behaviour and manners develop.
grow interest to the cultural Creating affection with folk culture.
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In social life

In educational life

In harmony

activity and create recreation.
Develops
socialbonding,develops unity, create improved
and unite life.
Increase knowledge, learn about
culture and people, growattention in education andlearning,
anddevelops
relationship among the student.
Drug abuse, dowry, childmarriage, domestic violence,
gender etc. social awareness on
will be created at their own pacewith enjoyable learning throughDhamailcommunity people get together
in various occasions participate,perform and enjoy Dhamail
irrespective of the race, colour,
sex, language, religion, political,
ethnic or social origin, property,
disability,
birth
or
other
opinion/status

Develops
relationshipneighbourhoodandSocialDevelopment,
aesthetic
development,
develops
fellowfeelings, unity, friendship, empathy.
Crete Awareness on the social issues
and establishes UNCRC and CEDAW
inthecommunityandeliminate/reduce superstitions.

Develops communal feelings andestablish peaceful life.

100% Respondents expressed that Dhamail is effective in gender relations & development andelimination of all kind of discrimination. Dhamail is one of the platforms for women to get
together, develop relationship among the performers as well as among the audience because all
lives in the same community. Develops social bond and neighbourhood where everyone knows
about each other that protect each other from domestic violence and thus domestic violence israre in the community. Male and female both take part in the Dhamail song and dance performer
or audience therefore it helps to develop relationship among women and men with respect.
Everyone has the freedom of their expression and take part in the decision-making process while
performing Dhamail.
100% Respondents expressed that youth and adolescents could be involved with Dhamail for
education and community development and the following role they can play••

Formation of Youth Dhamail group and Adolescents Dhamail group.
Provide training to the Youth Group and Adolescent group on Dhamail and different
issues.

Page 61 of 93

•

•
•

Create Social awareness on different issues to the community and to the educational
institutions and youth to youth, adolescent to adolescent by these Youth Dhamail groupand Adolescents Dhamail group
Provide training to the School Teachers and involve them with the Dhamail Group.
Youth Dhamail group and Adolescents Dhamail group will organize and perform in thecommunity and school functions.

100% Respondents expressed that Dhamail could be a positive/effective learning approach forthe government school, NGO school, and for the community development.
•••

It is possible Dhamail Song and Dance could include in the education as teaching method.
Develop awareness script as Dhamail song on Social issues such as child marriage, dowry,
domestic violence, health & hygiene (Even COVIT-19), that will introduce in thecommunity, educational institutions and non-formal education through performing
Dhamail song and dance.
Dhamail could be incorporated in the school schedule with the co-curricular activities.
Dhamail could be used for adolescent and youth reproductive health
Dhamail Cultural group could be formed in the non-formal & formal school,
college/educational institution and in the community level and Train the child and youth
leaders.

The respondents are not familiar with the SDG and its Goal 4.7 & 11.4 but from the explanationof above point, it is clear that Dhamail should need to be protected and safeguarding as a Sylheti
Cultural Heritage considering.

Conclusion
Dhamail song and dance is a Sylheti Culture and very popular in the Sylhet region. This Dhamailstyle has been following by both Hindu and the Muslims. Dhamail is used in their worship for bothreligions as well as during the marriage ceremony, birth day, national and international
remarkable day observances and, so on. The Dhamail is very friendly to the atmosphere and well
acceptance by the community and religiously. It develops the interpersonal relationship among
the family, community, culturally and, religiously. Dhamail is very effective to get together andway out from communal feelings, it creates peace and harmony where all level of people
especially women participate actively, reduces domestic violence and discrimination andestablish UNCRC, CEDAW and Human Rights. Currently, Dhamail is going to be disappeared fromthe community due to lack of financial support and very few cultural organizations established topractice and continue Dhamail for its existence and influence of modern song and dance. Thereis a scope to protect, preserve and, safeguarding Dhamail as discussed in the consultations withall level of community people. Dhamail could be introduced in the education and learning as well
as developing cultural organization in the local and district level. There is a need of more
Page 62 of 93

information to draw a conclusion. It is expecting that the after completion of phase-II, the findings
will be more authentic with more information and effective for recommendations and draw
conclusion.

Recommendation
Dhamail is going to evaporate from the community especially from Muslim community. Hindu
community practices Dhamail as worship of Radha Krisna. Modern songs and other folk songs are
influencing the whole community and taking the place of Dhamail. There is a scope to sustain,
preserve and ensure protection of Dhamail as ICH, this phase-I recommends in the following:
Dhamail is going to disappear from the community especially from Muslim community. Hindu
community practices Dhamail as worship of Radha Krisna. Modern songs and other folk songs are
influencing the whole community and taking the place of Dhamail. There is a scope to sustain,
preserve and ensure protection of Dhamail as ICH, this phase-I recommendations are:1. Dhamail needs to include in the early grade education as one of the teaching –learning
method. This could be implemented in the LUL project initially to create as an example
for the community and Educational Institutions.
2. Social issues such as child marriage, dowry, domestic violence, health & hygiene ( Even
COVIT-19) should need to identified and develop awareness script as Dhamail song, thatwill introduce in the community, educational institutions and non-formal education
through performing Dhamail song and dance for creating awareness for implementation
UNCRC, CEDAW, Human Rights and achieving SDG 4.7 and 11.4; This will assist to get
together and eliminate communal feelings, it will creates peace and harmonies where alllevel of people especially women participates actively, reduces domestic violence anddiscriminations. This is also could be implemented in the LUL project initially to create as
an example for the community and Educational Institutions.
3. A Dhamail Cultural Organization should need to form and establish at the local levelcomprising Dhamail singer, musical instrument player/musician, writer and Dhamail
Performers. This cultural organization will train the youth and teachers/child leaders in
the educational institutions. This will assist to strengthen efforts to protect preserve andsafeguarding the local cultural and natural heritage to achieve SDG 11.4 goal.
4. Dhamail Cultural group needs to form in the non-formal & formal school,
college/educational institution and in the community level. This is also could be
implemented in the LUL project initially to create as an example for the community and
Educational Institutions to strengthen efforts to protect preserve and safeguarding the
local cultural and natural heritage to achieve SDG 4.7 & 11.4 goal.
5. Considering the KII information, more discussions and information is needed from otherlocations and test result from LUL project to confirm that Dhamail is not conflicting withany other religious or community faith before drawing conclusion on the ICH.
Page 63 of 93

ANNEXURES (1-13)
Annex-1
Work Plan for Phase-I
Sl. No
1
2
2.1
2.2
2.3
2.4
3
3
4

5
6
7
8
9
9

10
10
11
12
13
14

Activity
Signing Agreement
HiringConsultant- Researchers
Field Supervisor
Data Enumerator
Support Staffs (Accountant and others)
Preparation of Work Plan
Desk Review
Research Tools Development
Presentation of Research Tools for
finalization
Field Test of Research Tools
Finalize Research Tools
Hands on Orientation Training on
Research Study on Dhamail as ICH for
Research Team
Organize FGD in Badaghat of Tahirpur
UPZ
Conduct FGD in Badaghat of Tahirpur
UPZ
Organize
FGD
in
PalashofBishwamvarpur UPZ
Conduct of FGD in Palash of
Bishwamvarpur UPZ
Mapping for identification selection of
Key Informant for Interview
Conduct KII
Qualitative Data Compilation
Qualitative data analysis
Prepare Phase-I Research Report
Submission of Phase-I Research Report

15 September – 15 November
2020 (Weekly)
1

2

3

4

5

6

7

8

Remarks

Will becontinued
with the next
phase-IIPage 64 of 93

Annex-2

Work plan of Phase II
Sl. No
1.
2.
3.
4
4.1

Activity

1 December 2020 – 15 January
2021 (Weekly)
1
2
3
4
5
6
Remarks

Conduct further Preliminary casestudies (Mainly Desk Review for expanding
target communities / or ICH elements)

Expand the target of study
Field Tour
Analyse the case studies
Submit a Case study report

Page 65 of 93

Dhaka Ahsania Mission
Research on Intangible Cultural Heritage
Semi -Structured Questionnaire for FGD.

Annex-3

1. Let us discuss about what Dhamail mean to you? Do you think it something special, If so,why?
2. Why do you think Dhamail song & Dance is important in your life?
3. Would you say something about the origination of Dhamail?
4. When/in what occasion and how this Dhamail is performed?
5. Please say something about the arrangement of Dhamail, such as occasions where it
held, participants (M/F), pre-contracted group etc. Does it need money to arrange? If
so, how much to pay (Minimum/Maximum)?
6. Is Dhamail only a recreational item in the occasions or it remains other objectives?
Please detail.
7. Do the group of people take it as their main profession and source of income or take it
as out of hobby or both?
8. Do they face any challenge? What are those?
9. Can a Dhamail group members maintain their families with the income from this cultural
performance? What is the average income per month per person?
10. Is Dhamail popular in the whole greater Sylhet area or in the particular places only?
11. How effective is Dhamail especially on Gender aspect?
12. Do you think there are some benefits of Dhamail in the community? If so please detail.
13. What is the theme/issues of Dhamail?
14. What kind of musical instrument use in the Dhamail?
15. Why Dhamail performers use special costume, is that fixed for all groups,
16. Are there any differences between urban and rural Dhamail performances? If so, pleasedetail.
17. How far Dhamail is known or familiar to the urban /culture communities? Please detail.

Page 66 of 93

18. What is the present status/situation of dhamail comparing the old days? Is it evolving into new form?
19. How does it effects in social bonding and social harmony?
20. Does it affect education and social awareness, how & what aspects particularly? Pleasedetail.
21. What is the reaction of all communities about Dhamail (religious & progressive, rich &poor, young and old, male and female, profession-wise farmer and fishermen, teacher &business people, literates & illiterates)?
22. How is it possible to involve youth and adolescent students in Dhamail for educationand community development and they can play roles?
23. How do you think Dhamail can be interactive method in learning in the educational
institutions, community and DAM CLCs?
24. Do you think, Dhamail is a positive instrument of education and community
development specially should it be safeguarded in harmony with SDG-goal 4.7 and 11.4.
If so, please explain how and why?

Page 67 of 93

Annexure-4
Translated Copy
Questionnaire for KII
Respondent’s Detail:
Name: __________________________________________ Age: _______________________
Male/Female:_______________________________
Designation/Occupation:______________________
Address:
Village________________________Union_______________________District______________

Please answer the following questions
1) If the answer yes please Tick (√) and for NO (x)a)

Is the Dhamail very old folklore in this region?

b)

Is the Dhamail well known by all community?

c)Is the Dhamail represents any specific religion?

d)Is the Dhamail divergence/conflict with any religion?

e)

Did you ever seen Dhamail song and dance?

f)

Did you ever participate in the Dhamail song or dance?

g)

Do the male and female both could participate together in Dhamail?

h)

Is there any specific number of participants fixed to perform Dhamail?

i)

Is there any system that Dhamail dance should be performed with song?

j)

Is there any specific costume and cosmetics for performing Dhamail?

k)

Is there any musical instrument uses in Dhamail Song and Dance?

l)

Do all people in this region perform Dhamail in a same stage together
without discrimination of any kind of occupation or class (this means sex,
language, religion, political or other opinion, ethnic or social origin,property, disability, or other status)?
Page 68 of 93m)

Do Dhamail organize in the wedding ceremony?

n)

Do Dhamail organize in other events such as Nabannyo, Choitro Songkranti,celebrating national days, etc.?

o)

Do Dhamail exist in the community at present?

2) Please answer the following question simply:a) In which districts Dhamail is prevalent? .................................................................................
b) Is Dhamail popular in the whole Sylhet region or only in certain places?...............................
......................................................................................................................................................
c) Do Dhamail performers have any specific names? If yes, write thename...............................................
d) How many entertainers or actors or performers are required to perform a Dhamail Song anddance?
Male: Minimum
Maximum, Female: Minimum
Maximume) Is there money require to organize a Dhamail ceremony? If yes, how much?
Minimum
Maximum
f)
What
is
the
sourceofthemoney?............................................................................................................
..........................................................................................................................................................
.......
g)
Dhamailiscelebratedinwhich
festivals?
………………………………………………………………………………………………
h) Do you like Dhamail program? Yes
No,
Why?.................................................................
i) Is Dhamail a just only entertaining cultural event for the occasion or to celebrate a day?
Yes
No,
If not, What are the other objectives.....................................................
j) Is there any professional group for Dhamail who earns for their living through it? YesNo
If yes, how much money they earn per program? Minimum
Maximum
How many programs have been organized in a year? Minimum
Maximum
If not, Who performs
Dhamail?...................................................................................................................
Why?.................................................................................................................................................
..............
k) Can the members of the Dhamail performers group manage their families with what they earn
through this cultural work?
Yes
No, If not, What is the source of income for their family
Page 69 of 93

management?.........................
……………………………………………………………………………………………………………………………………………………
…………….
l) Briefly describe the socio-economic and family status of the members of the Dhamail groupperformers. About child or their education etc.
……………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………
………………………….
m) Is there any problem/obstacle they face in organizing Dhamail ritual? Yes
No
If
yes,
what
are
problems/obstacles?...........................................................................................................

,
the……………………………………………………………………………………………………………………………………………………
…………
n) Do the performers face any problem / obstacle in Dhamail ritual? Yes
No
,
If
yes,
what
are
the
problems/obstacles?.....................................................................................................................
……………………………………………………………………………………………………………………………………………………
………..
o) Do the performers use special attires/costume for the Dhamail ritual? Yes
yes,describe
aboutthe……………………………………………………………………………………………………

No, If
attires/costume.

……………………………………………………………………………………………………………………………………………………
……….
p) Do dhamail performers of all places and all groups wear the same prescribed special
attires/costume?
Yes
No, If yes, Describe whether there is any specialty to maintain uniformity it to allgroups…………………………………………………………………………………………………………………………………………
……….
q) Is there any kind of musical instrument used in Dhamail? Yes
No
,
If
yes,
Describe
what
kind
of
musicalinstrument…………………………………………………………………………………………………………………….
r) Is Dhamail presented on any theme or issue? Yes
those………………

No

,

If

yes,

What

are

……………………………………………………………………………………………………………………………………………………
Page 70 of 93

……………
s) Do you think the community or people are being benefited by Dhamail? Yes

No

, If

yes, Describe how-----------------------------------------------------------------------------------------------t) Is there any difference between urban and rural dhamail performance. YesNo,
If yes, Describe it. Content or issue related / environmental / others………………………………………………………………
……………………………………………………………………………………………………………………………………………………
…………….
u) Do you think there are any differences between Dhamail performance of earlier days andpresent days. Yes
No, If yes, Note down the differences.
Dhamail in old days

Dhamail in present daysv) Do you think Dhamail is being developed in a new form? Yes
Describe how

No

,

If

yes,

……………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………
…………………........
w) Is there any reaction in the community (Religious and progressive, rich-poor, young-old, men
and women, professionally, farmers and fishermen, teachers and businesses, educated andilliterate) about Dhamail? Yes
No
,
If
yes,
Note
down
the
reactions………………………………………………………………
……………………………………………………………………………………………………………………………………………………
……………
x) What kind of and how does Dhamail influence in personal, social, educational life andharmony?
Whatkinds
influenceof How does
influence

dhamailPage 71 of 93

In personal life
In social life
In educational life
In harmonyy) Explain how effective Dhamail is in gender relations & development and elimination of all kindof discrimination.
……………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………
…………………………

z) How can youth and adolescents be involved with Dhamail for education and community
development and what role can they play?
……………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………
………………………….

aa) Do you think can Dhamail be a positive/effective learning approach for the government school,
NGO school, and for the community development?
……………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………
……………………………………….

ab) Should Dhamail be protected/safeguarding as a positive tool for education and community
development, especially in line with SDG-Goal 4.7 & 11.4? if yes, explain how and why?
……………………………………………………………………………………………………………………………………………………
…………….
……………………………………………………………………………………………………………………………………………………
……………
Name of the interviewer:.....................

Name of supervisor:.......................

Signature:....................................

Signature:........................

Date:.............................

Date
Page 72 of 93

(Translated copy)

Annex- 5

Government of the People’s Republic of Bangladesh
Ministry of Cultural Affairs
Administration Section -1
Bangladesh Secretariat, Dhaka
www.moca.gov.bd
ref no: 43.00.0000.111.99.005.19.202( Bangla)

Date : 02 Kartik 1427
18

2020

October

Meeting Notice
A meeting will be held at the meeting room (Building -6, Floor 11, Room No-1017) of Ministry of
Cultural Affairs on 27.10.2020 at 2:30pm. Main agenda of the meeting is Cultural Heritage of
Sylhet – Dhamail Song and Dance and its existence, which will be preside by the honorable Joint
Secretary of MoCA (Budget & Audit).
You are requested to attend in the meeting in time.

(Md. Ataur Rahman)
Joint Secretary (Budget & Audit)
Phone: 5553187
Distribution: (Not according to the seniority)

1.
2.
3.
4.
5.
6.

Ms. Zohora Khatun, Deputy Secretary ( Budget & Audit)
Ms. Jesmin Nahar, Snr. Asst. Secretary ( Agreement & Exchange)
Mr. Kazi Ariful Huda , Social Protection Specialist & Researcher, Dhaka
Md. Shahidul Islam, Head of Program – Education, Dhaka Ahsania Mission
Md. ABM Shahabuddin, Project Manager, Education, Dhaka Ahsania Mission
Ms. Farhana Begum, Training Coordinator, Education, Dhaka Ahsania Mission

Copy to: (information only)

1.
2.
3.
4.
5.
6.

Deputy Secretary (Security-2) Bangladesh Secretariat, Dhaka
Deputy Secretary ( Administration), MoCA, Bangladesh Secretariat, Dhaka
PS to State Minister, MoCA, Bangladesh Secretariat, Dhaka
PS to Secretary of MoCA, Bangladesh Secretariat, Dhaka
PS to Additional Secretary of MoCA, Bangladesh Secretariat, Dhaka
Office Copy

Page 73 of 93

Annex-6

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Annex- 7

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Annex- 8

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Annex-9

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Annex-10

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Annex-11

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Annex-12A

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Annex-12B

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Annex-12C

Page 82 of 93

Annex-13
Translated Copy
Total Respondents = 200

1) If the answer yes please Tick (√) and for NO (x)slQuestions

Yes

NO

a)

Is the Dhamail very old folklore in this region?

200

0

b)

Is the Dhamail well known by all community?

200

0

c)

Is the Dhamail represents any specific religion?

131

69

d)

Is the Dhamail divergence/conflict with any religion?

40

160

e)

Did you ever seen Dhamail song and dance?

198

2

f)

Did you ever participate in the Dhamail song or dance?

95

105

g)

Do the male and female both could participate together in Dhamail?

174

26

h)

Is there any specific number of participants fixed to perform Dhamail?

3

197

i)

Is there any system that Dhamail dance should be performed with song?

59

141

j)

Is there any specific costume and cosmetics for performing Dhamail?

58

142

k)

Is there any musical instrument uses in Dhamail Song and Dance?

194

6

l)

Do all people in this region perform Dhamail in a same stage together 169
without discrimination of any kind of occupation or class (this means sex,
language, religion, political or other opinion, ethnic or social origin,property, disability, or other status)?

31m)

Do Dhamail organize in the wedding ceremony?

91

109

n)

Do Dhamail organize in other events such as Nabanno, Choitro Songkranti, 189celebrating national days, etc.?

11o)

Do Dhamail exist in the community at present?

10

190

Page 83 of 93

2) Please answer the following question simply:a) In which districts Dhamail is prevalent? .................................................................................
Dhamail prevalent districts
No. of respondents
Sylhet199
Moulvibazar
197
Sunamganj
199
Habiganj
199
Mymensingh
59
Netrokona
15b) Is Dhamail popular in the whole Sylhet region or only in certain places?...............................
......................................................................................................................................................
Dhamail popular District/Region
No. of Respondents
Sylhet division/region
146
Mymensingh division/Region
04c) Do Dhamail performers have any specific names?
name...............................................
Dhamail performers have any specific names? No. of respondents
No specific name for recognizing Dhamail 197
performers

If

yes,

write

the

d) How many entertainers or actors or performers are required to perform a Dhamail Song anddance?
Male: Minimum
Maximum, Female: Minimum
Maximum
Minimum
maximum
No. of Respondents
830
198
Female perform Dhamail Song and Dance, lead by one women and other follows leader andsinging chorus but dance together in same stepping in a circle. Male plays musical instrument
only.
In Modern Dhamail song and dance, Male and female both perform together and Choreography
is used and introduced in a new form of Dhamail. There are no changes in song but Choreography
uses in dance. Mainly the modern Dhamail dance is depends on the Choreographer.
e) Is there money require to organize a Dhamail ceremony? If yes, how much?
Minimum
Maximum
Minimum
maximum
No. of Respondents
BDT 1000
BDT 5000
177
Page 84 of 93

The respondents expressed that the expenses depends on the nature of the decoration, audienceand place. For a big arrangement such as during cultural show or days observance, the expense
goes to BDT 50000 even. Performers costume required also.
f)
What
is
the
sourceofthemoney?............................................................................................................
..........................................................................................................................................................
.......
Source of Fund: (200 respondents)
Marriage or Birth day or family carnival or ceremony : Family provides FundDay observance and cultural Event: Community Contribution by rich people and individual
contribution of interested people.
Religious festival: Community according to the religious faith contributes and developed
collective fund.

•
•
•

g)
Dhamailiscelebrated
in………………………………………………………………………………………………
(200 respondents)

which

festivals?

Any program organized by the family.
Marriage CeremonySocial Cultural Program
National and International Day Observance- Independence & Victory day, New Year, Women’sDay, Literacy Day, Child Rights Week and Child Day etc.
Religious Festivals: Puja etc ( Mainly in Hinduism)

•
•
•
•
•

h) Do you like Dhamail program? Yes
No
Why?.................................................................
Yes= 197 respondents
Why:
•
•
•

•
•
•
•

Sylheti Culture as Sylheti Heritage
Dhamail is with the mind and heart of allsylheties
Enjoyable, attractive gesture in danceand song and excellent combination ofboth
Increase knowledge on the God Krisna
and Radha & love and about worship
Increase knowledge of Sylheti culture
Well-being of Health by Dhamail danceand song
Leadership skills developed by lead theDance and Song,
No= 3 respondents
Why?
•

•

•

•

Origin of Dhamail song and Dance is aworship of God Krishna & Radha which is
not acceptable in Islamic Culture
But in Marriage and other festivals
Dhamail Song and Dance is not on God
Krishna and Radha, uses other folk song
and Dance.
More information on these need tocollect from Muslim community by the
researcher.
Respecting all religions, many Muslim
community people do not express their
negativity on origin of Dhamail. Muslim
Community use the style of Dhamail

Page 85 of 93

•Dhamail in Hindu community perform by
women at any time anywhere in front ofknown and unknown people as a worshipof God Krishna and Radha which recite
step by step story of God Krishna &Radha through Dhamail Song followed bydance.

•

following the different song and call
Dhamailla in Marriage ceremony andother festivals.
Muslim women do not perform Dhamailin front of unknown people except own
family members.

i) Is Dhamail a just only entertaining cultural event for the occasion or to celebrate a day?
Yes
No
, If not, What are the otherobjectives.....................................................
Yes= 179 respondents
No= 21 respondents
Objectives: Only for enjoyment to celebrate a Objectives: respondents answered the same day with more enthusiastically such marriage see above point h
ceremony, birth day etc.
j) Is there any professional group for Dhamail who earns for their living through it? YesNo
If yes, How much money they earn per program? Minimum
Maximum
How many programs have been organized in a year? Minimum
Maximum
Ifnot,Who
performs
Dhamail?...................................................................................................................
Why?.................................................................................................................................................
..............
Yes= 38 respondents
No= 162 respondents••

Every performance minimum BDT 500 to
maximum BDT 5000.
Minimum 3 and maximum 30
performances take place in a year.

••

Dhamail performs by the male, female,youth, adolescent, those who are skilledin Dhamail song and dance.
They perform as an Artist and enjoy theevent, not for earning.

k) Can the members of the Dhamail performers group manage their families with what they earn
through this cultural work?
Yes
No, If not, What is the source of income for their family
management?.........................
……………………………………………………………………………………………………………………………………………………
…………….
Yes= 28 respondents
No= 172 respondents•

There is no professional Dhamail song &Dance group or individual and earning forPage 86 of 93

their living and family maintenance. The
performers of Dhamail are: house wife,
youth and adolescent who are engaged inhousehold work and student. Others
including male (musician) engaged infarming/cultivation, service, trades etc. asa main profession. They perform Dhamailfor Worship or enjoy as recreation.

l) Briefly describe the socio-economic and family status of the members of the Dhamail groupperformers. About child or their education etc.
……………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………
………………………….
Dhamail song and dance artist are poverty stricken people. As there is no earning from Dhamailsong and dance, they engaged at different work such as day laborer and working in the farming
land as worker, with a very little educational qualification their income is not sufficient than theirfamily needs. Therefore they are becoming extinct from their skills and performance as artist.
However, they are very much aware about the importance of education and their children
education.
m) Is there any problem/obstacle they face in organizing Dhamail ritual? Yes
No
If
yes,
what
are
problems/obstacles?...........................................................................................................

,
the……………………………………………………………………………………………………………………………………………………
…………
Yes= 9 respondents

No= 191 respondents••

Muslim Leaders and influential do not like
Dhamail and they protest and obstacles
to perform Dhamail in the Muslim
Community as they think it’s against
Islam especially on the story of God
Krishna and Radha.

n) Do the performers face any problem / obstacle in Dhamail ritual? Yes
No , If yes,
what
are
the
problems/obstacles?.....................................................................................................................
……………………………………………………………………………………………………………………………………………………
Page 87 of 93

………..
Yes= 8 respondents•

No= 192 respondents

Parents or Guardians of Muslim families
do not involve their family members andchildren in Dhamail Performance.

o) Do the performers use special attires/costume for the Dhamail ritual? Yes
yes,describe
aboutthe……………………………………………………………………………………………………

No, If
attires/costume.

……………………………………………………………………………………………………………………………………………………
……….
Yes= 13 respondents•

No= 187 respondents

Performers use Colourful costume – red,
blue, green, yellow etc. and performers
use same colour costume.

p) Do dhamail performers of all places and all groups wear the same prescribed special
attires/costume?
Yes
No, If yes, Describe whether there is any specialty to maintain uniformity it to allgroups…………………………………………………………………………………………………………………………………………
……….

Yes= 5 respondents•

No= 195 respondents

Performers use same colourful costume
for making the performance more
attractive and enjoyable. And thus allgroups in all places, performers wear
same costume according to their own
choice.

q) Is there any kind of musical instrument used in Dhamail? Yes
Describe
what
kind

of

No

,

If

yes,
musicalPage 88 of 93

instrument…………………………………………………………………………………………………………………….
Yes= 200
No= 0
Drum, drummer, tabla, harmonium, Mondira,
flute, dish bowl etc. local musical instrument
uses in Dhamailr) Is Dhamail presented on any theme or issue? Yes

No, If yes, What are those………………

……………………………………………………………………………………………………………………………………………………
……………
Yes= 156
No= 44It’s a one of the Cultural Activities forOrders and advice, do's and don'ts, love andrecreation only.
separation (God Krishna & Radha), mystic
poets'
biographies,
marriages,
birthanniversaries, harvesting, religious and social
issues, national and international day
observance and issues etcs) Do you think the community or people are being benefited by Dhamail? Yes
No
, If
yes,
Describe
how…………………………………………………………………………………………………………………………………………….
Yes= 176
No= 24The community people are benefited throughDhamail that includes Religious education(Hinduism), developing social bonding,
education on Dos and Don’ts, Life oriented
cultural practices.
t) Is there any difference between urban and rural dhamail performance. Yes
If yes, Describe it. Content or issue related / environmental………………………………………………………………

No,/ others……………………………………………………………………………………………………………………………………………………
…………….
Yes= 167
No= 33
In Rural area, Dhamail follows its origin; Song and Dance is a combination
effort of rhythm. But in Urban, Dhamail is a Dance program using
choreography by Choreographer. In rural, local and available musicalPage 89 of 93

instrument use during Dhamail performance. But in Urban, modern piano,
guitar, modern and digital Drum set, flute use according to the choreography.
In rural, Dhamail organizes at any place anywhere, but in Urban, Dhamailorganizes in a big hall or hall room. In Rural, no special costume is requiredfor performers, even Dhamail perform without musical instrument because
clapping is the main rhythm for song and dance. In Urban, Special costume isrequired according to the choreography. Stage, lighting and sound system isrequired in the Urban where as in rural, if a big cultural event only a Mick andstage is required and program organizes in the day.
u) Do you think there are any differences between Dhamail performance of earlier days andpresent days? Yes
No, If yes, Note down the differences.
Yes= 167
Dhamail in old days••••

Depends on old folks
Less or no musical instrument use
Only clapping is main rhythm than any
musical instrument
Organize in a small scale, athomestead/domestic, lively, sweet
melody and original voice, meaningful
and rural life oriented

No= 33Dhamail in present days••••

Modern culture based
Modern musical instrument use
Refined melody and rhythm use
Chorographical dance introduced that theorigin.

v) Do you think Dhamail is being developed in a new form? Yes
Describe how

No

,

If

yes,

……………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………
…………………........
Yes= 153
No= 47
Dhamail is being developed in a new form that includes refined melody and rhythm,
new form of dance with choreography, modern musical instrument introduced lyrics
with modern thought and culture, environment and costume introduced. Previously
only women were performed Dhamail, now male and female both perform together
with colourful costume and training by choreographer. See above point - s and t

Page 90 of 93w) Is there any reaction in the community (Religious and progressive, rich-poor, young-old, men
and women, professionally, farmers and fishermen, teachers and businesses, educated andilliterate) about Dhamail? Yes
No
,
If
yes,
Note
down
the
reactions………………………………………………………………
……………………………………………………………………………………………………………………………………………………
……………
Yes= 0

No= 200x) What kind of and how does Dhamail influence in personal, social, educational life andharmony?
In personal life

In social life
In educational life

In harmony

What kinds of influence
Developed realization andunderstanding,getacquainted, grow interest to
the cultural activity and create
recreation.
Develops social bonding,develops
unity,
createimproved and unite life.
Increase knowledge, learn
about culture and people,
grow attention in educationand learning, and develops
relationship
among
the
student. Drug abuse, dowry,child marriage, domestic
violence, gender etc. social
awareness on will be createdat their own pace withenjoyable learning throughDhamailcommunity
peoplegettogether in various occasions
participate, perform andenjoy Dhamail irrespective of
the race, colour, sex, language,
religion, political, ethnic orsocialorigin,property,
disability, birth or other

How does dhamail influence
Folk culture survives and practiced.
Behaviour and manners develops.
Creating affection with folk culture.
Develops
relationshipneighbourhoodandSocial Development, aesthetic
development, develops fellow
feelings, unity, friendship, empathy.
Crete Awareness on the social
issues and establishes UNCRC and
CEDAW in the community andeliminate/reduce superstitions.

Develops communal feelings andestablish peaceful life.

Page 91 of 93

opinion/statusy) Explain how effective Dhamail is in gender relations & development and elimination of all kindof discrimination.
……………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………
…………………………
Summarized 200 respondents view:
Dhamail is one of the platforms for women to get together, develop relationship among theperformers as well as among the audience because all lives in the same community. Develops
social bond and neighbourhood where everyone knows about each other that protect each otherfrom domestic violence and thus domestic violence is rare in the community. Male and female
both take part in the Dhamail song and dance performer or audience therefore it helps to develop
relationship among women and men with respect. Everyone has the freedom of their expression
and take part in the decision making process while performing Dhamail.
z) How can youth and adolescents be involved with Dhamail for education and community
development and what role can they play?
……………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………
………………………….
Summarized 200 respondents view:
•
•
•

•
•

Formation of Youth Dhamail group and Adolescents Dhamail group.
Provide training to the Youth Group and Adolescent group on Dhamail and different issues.
Create Social awareness on different issues to the community and to the educational
institutions and youth to youth, adolescent to adolescent by these Youth Dhamail group andAdolescents Dhamail group
Provide training to the School Teachers and involve them with the Dhamail Group.
Youth Dhamail group and Adolescents Dhamail group will organize and perform in thecommunity and school functions.

aa) Do you think can Dhamail be a positive/effective learning approach for the government school,
NGO school, and for the community development?
……………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………
……………………………………………………………………………………………………………………………………………………
Page 92 of 93

……………………………………….
Summarized 200 respondents view:•••

It is possible Dhamail Song and Dance could include in the education as teaching method. Develop
awareness script as Dhamail song on Social issues such as child marriage, dowry, domestic
violence, health & hygiene (Even COVIT-19) that will introduce in the community, educational
institutions and non-formal education through performing Dhamail song and dance.
Dhamail could be incorporated in the school schedule with the co-curricular activities. Dhamail
could be used for adolescent and youth reproductive health
Dhamail Cultural group could be formed in the non-formal & formal school, college/educational
institution and in the community level and Train the child and youth leaders.

ab) Should Dhamail be protected/safeguarding as a positive tool for education and community
development, especially in line with SDG-Goal 4.7 & 11.4? if yes, explain how and why?
……………………………………………………………………………………………………………………………………………………
…………….
……………………………………………………………………………………………………………………………………………………
……………
Summarized 200 respondents view:•

The respondents are not familiar with the SDG and its Goal 4.7 & 11.4 but from the explanationof above point (x)-(ab), it is clear that Dhamail should need to be protected and safeguarding asa Sylheti Cultural Heritage considering (x)-(ab).

-The End-

Page 93 of 93

CASE STUDY REPORTIMPROVEMENT OF EDUCATION QUALITY OF STUDENTS CHARACTER AND
SUSTAINABLE COMMUNITY DEVELOPMENT THROUGHLEARNING INTANGIBLE CULTURAL HERITAGE KETHOPRAK ARTS IN
ELEMENTARY SCHOOL

By

DEWI FORTUNA COMMMUNITY LEARNING CENTER

Jl. Arimbi No. 02 Jombor RT 02/RW 02 Desa Danguran Kecamatan Klaten Selatan
Kabupaten Klaten, Provinsi Jawa Tengah – Indonesia
Ko.Pos 57425 Tlp. 081548664549 email :pkbmdewifortunaklaten@yahoo.com
website : www.omahwayangklaten.com

Abstract
Dewi Fortuna Community Learning Centre in collaboration with International ResearchCentre for Intangible Cultural Heritage in the Asia-Pacific region centered in Osaka Japan
conducted a case study to compare and analyze differences in the contribution of schools in
implementing good practices that combine ICH, education (SDG 4), and community
development (SDG 11) to find out whether the contribution of intangible cultural heritage in theart of kethoprak shows an increase in the quality of Character Education and the sustainable
development of students in Klaten.
This case study uses the comparative method between schools that implement kethoprak art
education as an element of ICH, namely SD Krista Gracia and schools that do not implement
kethoprak art education, namely SD N 2 Tr Kill to analyze differences in results and impacts on
school capacity, student character education and community involvement The contribution to theachievement of SDGs by collecting data is derived from primary data obtained from filling out
questionnaires and interviews by respondents, and secondary data studying supporting
documents from schools and communities.
The results of the Case Study Analysis show that there are differences in the results andimpacts of the Quality of Character Education and Sustainable Development in schools that doand do not learn the Intangible Cultural Heritage (ICH) of the traditional art of kethoprak informal schools to the contribution of SDGs 4 in increasing the capacity and contribution ofschools in character education of students towards the preservation, protection and promotion of
Intangible Cultural Heritage has better results and a more beneficial impact with the increased
motivation and participation of students in the art of kethoprak which has an impact on
improving the academic quality of other subjects such as; cultural arts lessons, vernacular lessons,historical social sciences and civic education and have succeeded in helping to increase themental capacity and character of students in communicating, socializing, expressing andappreciating local wisdom teachings in society as an effort to promote community development
itself and the learning process is very fun.
The contribution of kethoprak art to SDGs 11 is seen from the participation andinvolvement of the community for the preservation and development of traditional kethoprak art
in providing solutions to socio-cultural and environmental problems supporting a communal
work culture in the community marked by the growing feeling of solidarity, cooperation andunity in fostering a sense of social care In a community there is mutual cooperation. Community
involvement is very important and greatly influences ICH education in schools and thecommunity itself in developing itself according to local potential and achieving SDG goals. The
ICH elements in the Art of Kethoprak contribute to social empowerment of the community andthe opportunity to provide resources, knowledge and skills to the community to participate in andinfluence the lives of their people, towards SDG goals for the world community and improvetheir creative economy.

CHAPTER IINTRODUCTION

A. Background
Klaten Regency is a prone area to volcanic eruptions and earthquakes. It has anarea of 65,556 ha (655.56 km2) with a population of 1,174,986 consisting of 576,513
male residents and 598,473 female residents. In the field of education, there are 782
schools with 94,808 elementary level students, 118 schools with 45,821 middle level
students and 83 schools with 44,661 students. The lowland area and part of themountains, located between the 2 big cities of Yogyakarta and Solo as a growing city,
are experiencing a cultural transition problem due to the effects of the Globalization Era
which has driven big changes and rapid in all sectors of life. The positive impact of
globalization is that there is knowledge of information technology and industry fromabroad that is effective, efficient, and very helpful for our people, but we are not awarethat the era of globalization also has negative effects.
Our society is currently experiencing a transition in cultural values fromtraditional to modern, from agrarian culture to industrial culture. The negative effects ofglobalization which rapidly change the values and attitudes of society cause several
problems in our society in the field of socio-culture, economic education. Changes froma culture of tolerance to intolerance, cooperation changing competition, a culture ofprotecting natural changes to exploration of natural resources. Many children drop outof school, many of the population are unskilled, unemployment which leads to poverty.
The values of traditional arts and culture are no longer known by the younger
generation of students, the communal work culture is lost, the issue of gender equality
is strengthened, the lack of creativity in managing the potential of local wisdom
resources, One of the main causes is the lack of strength of the character of society infacing the transition from local era to global era. Local Traditions have been abandoned,
but modern global traditions have not arrived. The same is experienced by the younger
generation of students so that they are also threatened to become cultural vagrants.

To overcome these problems, it is necessary to strengthen the values of
traditional Javanese local cultural values as sources of value in cultural education andnational character as elements of ICH. Starting from the idea that culture is the truththat there is no human being who lives in a society that is not based on cultural values
recognized by that society. Cultural values are important in community life. These
values are used as the basis for giving meaning to a concept and meaning in that society,which is expected to be able to contribute to the strengthening of Character education
for students who support the purpose of implementing values in National Education inIndonesia 1 . Character Education Values such as; Religious, Honest, Tolerance,
Discipline, Collaboration, Creative, Independent, Democratic, Love of the Fatherland,
respect for achievement, communicative, care about the environment, care about social,
and responsibility.
In line with the goal of the IRCI, in the framework of the 2030 agendaemphasizing the "interrelated and integrated nature of the Sustainable Development
Goals", ICH which is proven to contribute to SDG 4 (Quality education) is expected toplay an important role in achieving SDGs.. In addition, because ICH's contribution
must have a major impact on the communities in which ICH is practiced, IRCI will
focus on SDG 11 (Sustainable Cities and Communities) together with SDG 4 to study
the relationship between ICH, SDG 4, and SDG 11 over the course of 2 years (FY 2020
– FY 2021), aims to analyze their relationship and clarify the role of ICH in SDG 4 andSDG 11 by collecting a series of case studies in various countries in the Asia-Pacificregion.

1

The aim of National Character Education as a formulation of the quality of human values thatevery Indonesian citizen must have, is developed by various educational units at various levels andpathways that originate from religion, Pancasila, culture through subjects as a result of empirical studiesof the curriculum center.

In Indonesia, IRCI collaborates with Dewi Fortuna Community Learning Center 2,
which has experience in the learning process of traditional cultural arts in Klaten
Regency 3 hopes can compare, analyze good practices combining ICH, education, andcommunity development to testify ICH's contribution to the SDGs and utilize theresults to maintain ICH effectively. The project will also build a broad and solid
network among researchers in the Asia-Pacific region. This will certainly answer
questions about; Does community involvement influence ICH education?
To answer that question, so it is needed a case study that will be carried out by
Dewi Fortuna Community Learning Center (PKBM Dewi Fortuna) to know thecontribution of intangible cultural heritage in kethoprak art to improve the quality ofcharacter education and sustainable development of students in Klaten through 3

2

Dewi Fortuna Community Learning Center Indonesia is a non-formal education institution establishedsince 2015 which has a base of education services for drop-out children, community empowerment andskills learning efforts to alleviate poverty based on the potential of traditional local cultural arts. incollaboration with the Education Office, Cultural Service and the Klaten Arts Council
3

Through activity unit at Omah Wayang Klaten atelier, actively carrying out learning and training people

in non-formal education (school dropouts, illiterate women) and formal school children by holding theStudent Kethoprak Festival in Klaten since 2010, running annually until 2019 in 2020 stopped because of
the COVID-19 pandemic, in collaboration with the Amigo Shop company by inviting the participation ofschool students from elementary - high school in Klaten district. The main purpose of this event is tointroduce learning and invite to participate directly in the art performance of Kethoprak. This
automatically has a good impact on Kethoprak artists who are also involved in the event every year. The
good reception from various parties also made the participating schools increase every year. But even so,
most primary schools are not yet willing to participate with many factors. In 2019, a total of 843
elementary schools in Klaten 19 participated, and for SMP from a total of 141 schools, 19 schools, and a
total of since its establishment until 2019 we taught and performed the art of kethoprak for 4,000 students
in Klaten. The Kethoprak Festival for the general public was also held during 2017 - 2019 incollaboration with the Arts Council and the Culture and Youth Tourism Office and was attended by 26
representatives from all districts in Klaten district, and currently the kethoprak training center in Klaten isstarting to grow and develop well.

activities; (1) Case study of the effect of ICH in learning kethoprak art of students on
the contribution of SDG 4 and SDG 11
B. Focus / Limitation of Problems
In this case study, the author limits the focus of the case study on analyzing thedifferences in outcomes and impacts of schools that do and not learn elements of ICH
Intangible Cultural Heritage in traditional kethoprak art on Quality of Education andSustainable Development.
C. Hypothesis
There are differences in the results and impacts of the Quality of Character Educationand Sustainable Development in schools that do and do not learn the Intangible Cultural
Heritage of traditional art kethoprak on the contribution of SDG 4 and SDGs 11 informal schools
D. The Aims of Case Study
Based on the formulation of the problem above, the objectives of this case study are:
1. Know what ICH elements are contained in the art of Kethoprak as a learning medium
for Character Education that contributes to SDG 4 and SDG 11
2. Knowing the school's capacity in fostering students, for the preservation, protection
and promotion of Intangible Cultural Heritage and the contribution of schools in thedevelopment of character education and sustainable community development insupporting a communal work culture in the community between schools that conduct
kethoprak art learning and those that do not conduct learning kethoprak art
3. Knowing the interest in and increasing the participation of students' character
education on learning the Intangible Cultural Heritage and the influence of thedevelopment of the contribution of students in other subjects, between schools that
conduct kethoprak art learning and those that do not conduct kethoprak art learning
4. Knowing the participation and involvement of the community in the development oftraditional kethoprak art in providing solutions to socio-cultural and environmental

problems between schools that conduct kethoprak art learning and those that do not
conduct kethoprak art learning

CHAPTER II
BASIC UNDERSTANDING
Basically, the values of education are a development of the way of life orideology of the Indonesian people. The values developed in character education comefrom religion, Pancasila, culture, and the goals of national education itself. In this casestudy, to facilitate understanding, it is necessary to convey the basic understanding of
education in Indonesia which is related to the object of the case study, among others;
A. Character Education
Character education according to Samani and Haryanto (2016: 45) it can beinterpreted as an effort to guide students to become human beings with character.
Education in schools does not merely teach knowledge, but also concerns values,
morals, ethics, aesthetics, character, and so on (Aziz, 2011: 199). Character
education in schools can be said to teach, guide and foster students to have goodcharacter. Students with character are students who have succeeded in absorbing
what was instilled by the teacher and applying it in life.
In the Ministry of National Education's Publication on cultural education andnational character (2010: 4), it is stated that education can also be said to be aneffort to prepare the younger generation for the survival of society. So that throughcharacter education, a person can live in a good society by paying attention to thevalues, norms, ethics, and culture that exist in society. Character education aims todevelop the potential of students as human beings who have cultural values andnational character. Cultural Character Education aims to prepare students to become
better citizens, namely citizens who have the ability, willingness, and apply
Pancasila values in their lives as citizens, expected to behave in line with universal
values and cultural traditions of the nation. Furthermore, character education

functions to develop the potential of students to behave well and reflect the culture
and character of the nation, among others; religious honest discipline, tolerance,
independent creative cooperation, democratic curiosity, spirit of nationality, love of
the Fatherland, respecting, business achievements / communicative love, peace,loves to read, care for the environment, care for social responsibility (Kemendiknas,
2010: 7).
B. Citizenship Education Lessons (Civics)
School as a mode for the development of democratic and responsible citizens,which curricularly has Citizenship Education which must be a psychologicalpedagogical vehicle. The main term is Citizenship which is translated to "Civics"
which is a social subject aimed at fostering and developing students to become
citizens, good (good citizen). Good citizens are citizens who know, want, and areable to do well "(Somantri 1970) or in general who know, realize, and exercise theirrights and obligations as citizens." This personal quality is very important because it
will become a provision to play a role as a citizen. Citizens who are democratic andresponsible, with attitudes and behavior based on faith and piety to God Almighty,
noble morals, health, knowledge, skills, creativity, and independence. Therefore,
schools as an integral part of society need to be developed as a center for the culture
and empowerment of lifelong students, who are able to exemplify, build will, anddevelop students' creativity in the democratic learning process so that students havethe following abilities. 1. Think critically, rationally, and creatively in response to
the issue of citizenship. 2. Participate actively and responsibly, and act intelligently
in community, national and state activities, as well as anti-corruption. 3. Develop ina positive and democratic manner to shape oneself based on the characteristics ofIndonesian society so that they can live together with other nations. 4. Interactingwith other nations in the world arena directly or indirectly by utilizing informationand communication technology. "C. Historical Social Science Lessons
In this case, social science acts as an impetus for mutual understanding andbrotherhood among humans, besides that it also focuses its attention on humanrelations and social understanding. Thus, social science can raise awareness that wewill be dealing with a life full of challenges, or in other words, social studies
encourage students' sensitivity to life and social life. So the rationalization of
studying social science for elementary and secondary school are so that students
can:
1. Systematize materials, information, and / or abilities that are owned abouthumans and their environment to become more meaningful.
2. Be more sensitive and responsive to various social problems in a rational andresponsible manner.
3. Increasing the sense of tolerance and brotherhood in own environment andbetween humans
Studying social science is essentially examining the interaction between individuals
and society and the environment (physical and socio-cultural). Social sciencematerial is extracted from all aspects of everyday practical life in society. Therefore,social studies teaching that forgets society as its source and object is a field of
science that is not based on reality. According to Mulyono Tjokrodikaryo, (1986:21) there are 5 kinds of social studies material sources, including:
1. Everything or anything that exists and happens around the child, from family,
school, village, sub-district to the wide environment of the country and the world
with its various problems
2. Human activities, for example: livelihoods, education, religion, production,communication, transportation
3. Geographical and cultural environments include all aspects of geography andanthropology, from the closest to the farthest environment of the child.
4. Past life, development of human life, history starting from the history of theimmediate environment to the farthest, about figures and major events
5. Children as material sources cover various aspects, from food, clothing, games,and family.

D. Vernacular Lesson
Javanese lessons are local content so that students are able to understand anduse the Javanese language appropriately, communicate effectively and efficiently,
both orally and in writing. Javanese language learning has an important role eventhough it is a local content subject. The functions of learning Javanese according to
Hutomo Javanese Language Congress IV, 2006: 251 are 1. preserving the richnessof language and language survival; 2. to prevent language inference; 3. for thepreservation of cultural elements expressed in language; 4. language development,
both in vocabulary and in language structures; 5. literary development in quality
quantities; 6. for smooth communication and order expressing thoughts; 7. as an
educational and learning tool, and 8. for the development of other cultural elementsthat involve the Javanese language in it. The local content of the Javanese language
has a function as a vehicle for disseminating ethical, aesthetic, moral, spiritual andcharacter education values including components of language skills, literary skills,
cultural abilities which include aspects of listening or listening, speaking, reading,
and writing.
a. Listening: The main points of listening learning activities are as follows. 1
Listen to the words paragraphs of the discourse on a cassette or read out. The
material of the text stories that are played to students is in the form of language,
literature, or culture that contains upload-upload manners and is in accordance withthe basic competency formulations, indicators, and conditions of students. 2
Discussion of linguistic elements and upload-upload. 3 Discussion of the contentsof the text story, including: title, character, place of the incident, the value of themessage contained in the story. 4 Reveal the contents of the story writing or tellingstories.
b. Talking: The main points of speaking learning activities are as follows. 1
Pronunciation and intonation according to Javanese language rules. 2 The use ofvarious languages upload-upload the appropriate language according to the context
and situation of the speaker, the interlocutor, the official or informal situation, theplace, and so on

E. Kethoprak Arts extracurricular lessons
Extracurricular lessons are not compulsory subjects but are held by schools
for interested students. This lesson is a sub material of the Cultural Arts subject at
school. Not just for entertainment alone. Through Kethoprak, art students are given
experience to appreciate, express, and create through the beauty of voice, acting,Javanese language, history, which in essence has a very important role in shaping
the whole human character. Through directed learning, kethoprak art is expected to
be used as a media tool to help educate life, develop cultured humans who have abalance of right and left brain (balance of mind, mind, and heart), and have amature personality. Learning kethoprak art is a learning process that helps express
ideas / ideas arising from the text of the story manuscript which is history, myth,legend, fairy tale or everyday life which is a phenomenon of environmental
phenomena by using role elements, make-up, clothing and music, so forming a
traditional performance work that cannot be separated from a sense of beauty.
The Kethoprak Art Subject is a subject that discusses aesthetic, artistic, andcreative works of art rooted in the norms, values, behavior and products of thenation's Kethoprak Art through artistic activities. This subject aims to develop
students' abilities to understand art in a scientific, technological and social context
so that it can play a role in the historical development of civilization and culture,both at the local, national, regional, and global levels. Learning art at the primaryand secondary school aims to develop awareness of art and beauty in a general
sense, both in the domain of conception, appreciation, creation, presentation, andeducational psychological goals for the positive personality development ofstudents.
Kethoprak art lessons in schools are not solely intended to shape students tobecome art actors or artists but rather focus on creative, ethical attitudes andbehaviors and those who have a sense of work are considered very helpful to instill
attitudes or characters such as a sense of tolerance, discipline, beauty (refinement),a sense of patriotism, and others. In the context of education, Ki Hajar Dewantara(in Utomo, 2017: 11) also states that art is a determining factor in shaping thepersonality of the soul and the child. In addition, Utomo (2017: 13) states that the
purpose of art education in schools is not only to preserve the existing arts but also
an effort to carry out a complete and balanced education.
Kethoprak Art as a Character Education Media in Law No. 20 of 2003
concerning the national education system, it is stated in article 37 that the
Kethoprak Art subject is a compulsory subject in primary and secondary education.
Kethoprak art subjects in schools have different characteristics and uniqueness fromother subjects. Characteristic differences include goals, material, process, andassessment (Utomo, 2017: 18). Suharto (2012: 87) also said that the Kethoprak Art
subject has its own characteristics and uniqueness as aesthetic study group, so thatthe learning is carried out specifically. The Kethoprak art subject has several submaterials, namely music, dance, fine arts and drama. The sub-material between
schools is different according to the conditions of each school (Kurniawan, 2014:13). The goals of learning art in schools according to Utomo (2017: 1) are
understanding the concept of art, understanding an attitude of appreciation for art,
displaying creativity, and displaying participation in art
Conceptually Kethoprak Art Education is (1) multilingual, namely thedevelopment of the ability of students to express themselves creatively in various
ways and media, by utilizing visual language, word language, sound language,
movement language, role language, and the possibility of various combinations ofthem. The ability to express oneself requires an understanding of the concept of art,
theory of artistic expression, the process of art creation, artistic techniques, and thevalue of creativity. Art education is (2) multidimensional, namely the developmentof various competences of students regarding the concept of art, including
knowledge, understanding, analysis, evaluation, appreciation, and creation byharmonizing elements of aesthetics, logic, and ethics. Art education is (3)multicultural, which is to develop the awareness and ability of students toappreciate various national and foreign cultures. Awareness is a form of forming a
democratic attitude that allows students to live in a civilized and tolerant manner
towards differences in values in pluralistic community life. This attitude isnecessary to form students' awareness of the diversity of cultural values that live insociety. Art education plays a role in developing (4) multi-intelligence, namely therole of art in forming a harmonic personality according to the psychologicaldevelopment of students, including intrapersonal, interpersonal, visual-spatial,
verbal-linguistic, musical, mathematical-logical, physical-kinesthetic, and so on.
The Kethoprak Art Subject aims to develop aesthetic and artistic sensitivity, critical,
appreciative, and creative attitudes in each educator participant as a whole. This
attitude is only possible to grow if a series of artistic activity processes are carriedout on students. Kethoprak Art Education has specific goals, namely: (1) fostering
tolerance (2) creating a civilized democracy (3) fostering a harmonious life in apluralistic society (4) developing sensitivity and skills (5) applying technology increation (6) foster a sense of love for culture and respect for Indonesia's cultural
heritage (7) make art performances and exhibitions.

There are positive opportunities in improving the welfare economy if we canproperly manage the potential of this traditional local Kethoprak art with all its
aspects through creativity that is triggered from learning traditional skill of the
traditional art of kethoprak, especially for non-formal students in terms ofdeveloping the skills of Kethoprak artists at that time apart from forming skills. Art
groups also innovate to eventually create creative innovations in the Kethoprak 4
performance art technique, which has a positive effect not in increasing income forart workers and for the local society.

4

generally consists of; (1) Director, (2) Performers, (3) Make-up and costumes (4) musicalaccompaniment, (5) Place and lighting, (6) Decoration and property, (7) Multimedia (8) audio
system (9) ) Permission to show.

F. Learning Phases in School
Learning is the process of teaching and learning between teachers andstudents, or in other words, learning is a process of communication between
teachers and students, as a set of events that influence students so that students findit easy. Learning events are designed in such a way as to achieve predeterminedgoals. Learning can be internal and can be external. External learning, among others,comes from teachers or educators by teaching students. Meanwhile, learning isinternal, which comes from oneself. Learning is an effort made by educators so thatstudents do learning activities. Learning stages are broadly divided into three,namely:1. Planning stage of learning by compiling a program to achieve predeterminedgoals. The planning can be arranged according to the needs within a certain
period of time and must be right on target. Good learning activities always startfrom a well-thought-out plan. Careful planning will show optimal results inlearning. The steps that must be prepared in learning are:a. Developing an syllabus: The syllabus is an outline, summary, main content of
the subject matter. The syllabus is a description of the competency standards,
the basic competencies to be achieved, and the main points and descriptions of
the material that students need to learn. According to Permen No. 59 of 2014
concerning the 2013 Curriculum is a learning plan in a subject that includes
core competencies, basic competencies, learning materials, learning activities,
assessments, time allocation, and learning resourcesb. Developing a Learning Implementation Plan (RPP): A learning implementation
plan is a learning plan developed in detail from a specific subject matter ortheme that refers to the syllabus. Each teacher in each education unit is obliged
to prepare RPP for the class in which the teacher teaches (class teacher) in SD
and for subject teachers who are assigned to teachers of SMP / MTs, SMA /MA, and SMK / MAK. RPP components in the 2013 Curriculum based on
Permendikbud No. 81A in 2013

2. The Learning Implementation Phase is divided into three;a. Introduction or opening. Opening lessons is an activity carried out by theteacher to create a mentally prepared atmosphere and to raise the attention of
students to focus on what is being learned. Suharto (2016) said that opening
lessons is the teacher's effort to provide an introduction / direction about thematerial to be studied by students so that they are mentally prepared andinterested in following it. Permendikbud No. 22 of 2016 concerning thestandard of primary and secondary education process explains that inpreliminary activities, teachers are obliged to: (1) prepare students
psychologically and physically to take part in the learning process; (2)providing motivation to learn contextually according to the benefits andapplications of teaching materials in everyday life, by providing examples andcomparisons of local, national and international levels, and adapted to thecharacteristics and levels of students; (3) asking questions that link previous
knowledge with the material to be studied; (4) describes the learning goals orbasic competencies to be achieved; and (5) convey the scope of material andan explanation of the activity description in accordance with the syllabus
b. Core activities are a learning process to achieve goals, which are carried out
interactively, inspiring, fun, challenging, motivating students to actively
become information seekers, as well as providing sufficient space for
initiative, creativity, and independence according to their talents, interests andphysical development, as well as the psychology of students (Permendikbud
No 81A 2013). The core activities use methods that are tailored to thecharacteristics of students and subjects. The 2013 curriculum uses a sanativeand contextual approach in core learning activities. The teacher facilitates
students to carry out the process of observing, asking questions, gathering
information and associating, and communicating. The process refers toPermendikbud No 81A of 2013 which will be explained as follows
c. Closing Activities Closing activities are activities carried out by the teacher toend the core learning activities. Permendikbud No. 22 of 2016 concerning thestandard process of primary and secondary education explains that in closing
activities
G. Learning Method
Methods are ways that can be done to help the teaching and learning process run
well. The choice of method used depends on the formulation of goals byconsidering several factors including material factors, student factors, and time
factors. The success of learning is greatly influenced by the selection of the method
used. Some of the methods that are often used include: lecture method, question andanswer method, demonstration method, and vary depending on the material beingtaught.
H. Learning materials
It is carried out in the form of appreciation, expression, and creation activities toachieve competency in knowledge, attitudes and skills. Character values in thelearning process. For example in the Kethoprak material which is carried out
together, so that in practice the learning indirectly introduces the value ofcooperation to students. And presenting the art of Kethoprak, students haveindirectly been trained to dare to train mentally and those who watch can also get
respect.
I. Learning MediaIn simple terms, learning media is a tool used by teachers in the learning process tohelp deliver material as a tool or vehicle used by educators in the learning process
to help convey learning messages. Media is not only a tool but can be through audio
visuals such as pictures, slide photos, films, examples of kethoprak throughYoutube channels and other things that make students gain knowledge.
J. Learning Evaluation
In simple terms, evaluation is collecting information for making decision, namely
the decision to find out the extent to which students have achieved learning goals.

Evaluation is different from tests and measurements. That evaluation is acontinuous examination to obtain information that includes teachers, students,
educational programs and the learning process to determine the effectiveness of the
program. The teacher and students both individually and in groups reflect toevaluate: (1) the whole series of learning activities and the results obtained to finddirect and indirect benefits from the learning results that have been taking place; (2)provide feedback on the learning process and results; (3) carry out follow-up
activities in the form of assigning assignments, both individual and groupassignments; and (4) inform the lesson plan for the next meeting. Learning
Evaluation Stage In essence, evaluation is an activity to measure changes inbehavior that have occurred and to measure the extent to which goals have beenachieved. At this stage, the teacher's activity is to assess the learning process thathas been carried out. Evaluation is a tool to measure the achievement of goals. Withevaluation, it can be measured the quantity and quality of the achievement oflearning goals. Conversely, because evaluation is a measuring tool for theachievement of goals, the benchmarks for planning and developing it are learning
goals.

CHAPTER IV
CASE STUDY METHOD
A. Framework
The art of Kethoprak has a close relationship with efforts to improve thequality of education, (SDGs 4) especially in Character Education of Students.
Character education in schools can be applied through curriculum, learning, andschool culture (Mulyasa, 2013: 20). In the curriculum, there are plans or directions
for achieving educational goals which are then manifested in the learning process.
In learning, what students see, hear, feel, and do can affect the character of students.
In school culture there is continuous habituation as a real effort in character
education. Subject matter in the implementation of character education that is
integrated through learning needs to be developed so that it is related to the values
and norms that will be instilled in students or in other words, the material does notonly focus on the cognitive domain, but touches the affective and psychomotor
domains that can be applied in everyday life. . The integration of character
education in learning is widely used in schools because each subject is assumed tohave a mission to instill character education. Departing from this rationale, the flowof thinking framework used for case studies is as shown in the chart 1

B. Focus/Scope
The scope or focus of the research in this study is to analyze the differences
between schools that do and do not learn the Intangible Cultural Heritage of
traditional art kethoprak on the Quality of Education and Sustainable Development"seen from;
1. Community participation in the development of traditional kethoprak art inproviding solutions to socio-cultural and environmental problems.
2. Knowing the impact of the value of character education values contained in theart of kethoprak and interest and quality improvement on other lessons forstudents
3.
C. Strategy Approach
Case studies are a research strategy for examining a case by using systematic
methods of observing, collecting data, analyzing information and reporting,empirical study that investigates a phenomenon in a real-life setting. This strategy
includes both quantitative and qualitative data evidence that relies on various
sources that result in not only answering research questions about 'what' the object
under study, but more thoroughly and comprehensively about 'how' and 'why' theobject occurs and is formed as and can be seen as a case, and testing hypotheses toform the basis for further research. Based on this understanding, we do thefollowingThis study uses a quantitative research 5 method approach, with acomparative 6 research method by comparing the same variables for different
samples. Comparative analysis or comparison is a statistical procedure to examine
the differences between two groups of data (variables) or more, directed todetermine whether there is a difference between two groups of aspects or variables
under study. In this study, there was no controlling variables, nor manipulation ortreatment by the researcher. The research was carried out naturally, the researcher
collected data using instruments that were informative. The results were analyzed tofind out the differences between the variables studied.
Data analysis depends on the type of data (nominal, ordinal, interval / ratio)
and the sample group tested. Comparison between two independent samples, that is,
the samples are strictly separated from each other where one sample member is nota member of the other sample. Arikunto Suharsini (1998: 236) says that incomparative research in essence is research that seeks to find similarities anddifferences about objects, about people, work procedures, ideas, criticism of people,groups, of an idea or work procedure. Can also compare similar outlook andchanges outlook of people, groups or countries, cases, people, events or ideas.

5

Quantitative research according to Wikipedia (2011) is systematic scientific research on parts andphenomena and their relationships. The measurement process is a central part of quantitative
research because it provides a fundamental relationship between empirical observations and themathematical expression of quantitative relationships.
6

According to Silalahi Ulber (2005) comparative research is a study that compares two or more

symptoms. Comparative research can be in the form of descriptive comparative (descriptive
comparative) or correlational comparative (correlation comparative). Descriptive comparative

D. Research Location
Research locations in Klaten District, Central Java Province by comparing 2
formal schools that carry out learning activities and do not carry out kethoprak art
learning activities:
Table 1
Research Location
No.
School name1
SD Krista Gracia

StatusThere is Kethoprak Art
Learning for students

2

There is no Kethoprak Art
Learning for students

SD N 2 Trunuh

AddressJl. Seruni No.8. Klaseman,
Tonggalan, Village, Klaten
center, Klaten Regency
Trunuh Village, South Klaten.
Klaten Regency

E. Respondent Sample Population
Population is a generalization area consisting of objects that has the quantity
and characteristics applied by researchers to study and draw conclusions based on
position / role, and class 5 students with an average age of 11-12 years with sample
techniques. Respondents sampling saturated because the population is relatively
small, obtained directly from the data source by researchers. As Primary Data
Includes the opinions of respondents as users regarding ICH education services thathave been provided by schools
Based on the explanation above, the samples as primary data in this study
are part of the population according to the categories taken as table 2 and table 3;
Table. 2
Number of Respondent Sample Populations
No

1
2
3
4
5
6
7
8

Category
Principal
Kethoprak Art Teacher
Javanese Teacher
Social/historicalscience
TeacherCitizenship Teacher
Student grade 5
Parents of Students
Public Figure

SD Krista Gracia
Population
SampleRespondent
1
1
1
1
2
1
3
1
3

SD N 2 Trunuh
Population
SampleRespondent
1
1
0
0
2
1
3
1

1
11
5
1

3

1
11
5
1

Table. 3
Total Population of Student Respondents by Class and GenderNo

12

SchoolSD Krista Gracia
SD N 2 Trunuh

Class
V
V

Boys
6
6

Girls
5
5

Total
11
11

Types of Secondary Data as variable data supporting documents which become
evidence of variable information sourced from schools as shown in table 4;Table. 4
List of Secondary Data
Type of Data

No

1
2
3
4
5
6
7
8
9
10
11
12
13
14

School Profile
Decree of Learning Curriculum Determination
Example of lesson plan syllabus
Schedule of Learning grade 5
Documents of facility kethoprak art learning
Kethoprak art learning schedule
Documents Kethoprak art activity
Sampling of student sample report
Achievements of students sample related to subjects
Partnership documents with the community / otherparties in supporting Kethoprak art learning
List of Respondents
Writing about Kethoprak art in Klaten
National Education Goals
written works on character education

Remarks

AdjustAdjust3 Subject
1 SheetList and Picture
1 SheetPhotos / link internet
4 Students
AdjustDecree / MoU
Adjust
Bibliography
Bibliography
Bibliography

F. Research Variables
1. Tangible: (physical evidence / objects)
a. Documentation of the respondent's activities regarding learning about
Intangible Cultural Heritage in schools
b. Personnel of human resource principals, students, parents of students, subject
teachers and community leaders in charge of providing learning services for
the Intangible Cultural Heritage of the traditional Kethoprak art in schoolsc. Technology facilities and infrastructure for learning the Intangible Cultural
Heritage of the traditional Kethoprak art
2. Condition (Intangible reliability)a. Contribution of schools in Fostering Improved Quality of Character
Education in the community and sustainable community development insupporting a communal work culture in the community.
b. Differences in the interests of the younger generation in learning Intangible
Cultural Heritage

c. Increased participation of students in schools because of the encouragementof a sense of unity and solidarity in the art community formed at schoold. Indicators of growing appreciation, pride in knowledge of the teachings oflocal wisdom in the community that encourage character education in
students
e. The influence of the development of students' academic quality on thesubjects of Kethoprak art, regional languages, social studies history andcivic education which are in line with the educational objectives of thesesubjects
f. Contribution of skills for students in traditional arts and crafts.
g. Knowing the impact of community involvement in creating awareness andparticipation in the preservation, protection, promotion of Intangible
Cultural Heritage for sustainable community development.
G. Techniques of Collecting Data
Data collection techniques are methods used to obtain data required for a study.
With the help of using a recording device and mobile online communication and anotebook from the interview results. In this study the data collection techniques
were as follows:
1. QuestionnairePrimary data collection technique in the form of a questionnaire is intended toobtain data about the research variable instruments. This data collection methodby providing a list of written questions in language that is easy to understand andavailable alternative answers related to the research problem to respondents in a
logical, detailed and complete manner so that respondents can provide accurate
and clear answers. The questionnaire was distributed to all respondents who were
the research samples. The researcher conducts the preparation of research
instruments through certain steps as attached (see Appendix)
2. Interview
Conducted online to clarify the answers to the questionnaire which needs to bevalidated or confirmed by respondent

3. Documentation of Secondary Data as shown in table 4 above

H. Techniques of Analyzing Data
The comparative analysis technique is one of the quantitative analysis techniques or
one of the statistical analysis techniques that can be used to test hypotheses about
whether there are differences between the variables studied. If there is a difference,is it a significant difference or just a coincidence. The data analysis technique used
to test the hypothesis of this study used data analysis techniques (samples) whichwere then followed by a generalized depiction, conclusion (inference), on all
subjects from which data was collected (population)
I. Case Study Schedule
No.
Date
1
10 October 2020
2
30 October 2020
3

31 October 2020

Activities / Targets
Team Meeting
Finalization ofGeneral Guidelines
Letter of recommendation
Letter to School

4

7 November 2020

5

7 November 2020

6

10 November 2020

7

13 November 2020

8
918 November 2020
20 November 2020

10

25 November 202011
12

04 January2021

13

18 January 2021

Presentation / outreach
SD Krista Gracia
Presentation / outreach
SD N 2 Trunuh
Initial data & Questionnaire
SD Krista Gracia
Initial data & Questionnaire
SD N 2 Trunuh
Interview SD Krista Gracia
Interview SD N 2 Trunuh
Secondary Data
SD Krista Gracia
Secondary Data
SD N 2 Trunuh
Data analysis
SD Krista Gracia
Data analysis
SD N 2 Trunuh

PIC
Kristian Apriyanta, S.Pd
Kristian Apriyanta, S.Pd
Rahadyan Bayu Dewantoro,
SE
Rahadyan Bayu Dewantoro,
SE
Fembriyani
Indah Kurnia Anisafitri,
S.Sn
Fembriyani
Indah Kurnia Anisafitri,
S.Sn
Fembriyani
Indah Kurnia Anisafitri,
S.Sn
Fembriyani
Indah Kurnia Anisafitri,
S.Sn
Fembriyani
Indah Kurnia Anisafitri,
S.Sn

14

22 January 2021

15

25 January 2021

16

27 January 2021

17

28 – 29 January 2021

18

8 February 2021

Comparative Data Analysis Kristian Apriyanta, S.Pd
I
Comparative Data Analysis Kristian Apriyanta, S.Pd
II
Progress report I
Rahadyan Bayu Dewantoro,
SE
Symposium
Rahadyan Bayu Dewantoro,
SE
Final case study report
Kristian Apriyanta, S.Pd

J. Research TeamThe Research Team consists of volunteers at the Dewi Fortuna PKBM institution
and the Omah Wayang Klaten studio, among others;
Research Team 1

Research Team 2

TIM Data Analysis

Fembriyani
Wisnu Sigit Pambudi
Rahadyan Bayu Dewantoro, SE
Indah Kurnia Anisafitri, S.Sn
Nur Imam Widayat
WaluyoKristian Apriyanta, S.Pd
Krystiadi, S.Sn, MA
Muhammad Dici Saputra, SPd
Research TEAM 1 & 2

ChairmanDocumentation
Interview of Respondents
ChairmanDocumentation
Interview of Respondents
Chairman
Secretary
MemberMemberCHAPTER IVDISCUSSION OF RESULTS AND ANALYSIS
Data analysis techniques by conducting comparative studies or comparisons with the same
variables as different respondents with the main indicator of data comparison to answer the
initial hypothesis with existing data sources and the analysis as follows;
A. Traditional Kethoprak Art
Kethoprak art is a traditional theater performance art, history, fairy tales, daily life
involving many elements of traditional arts, traditional Kethoprak accompaniment,
traditional language and dress, in its implementation in the community is closely related
to the Javanese Kethoprak Art tradition, and the rules describe the teachings of theconcept of life. Javanese people, which are contained in the story and the manner of itsdelivery which has a philosophical meaning "Memayu Hayuning Bawana" a concept of
meaning that living people must be able to establish a harmonious relationship with
Nature, fellow humans and God.
Kethoprak art is an original traditional performing art that was born in Klaten in the20th century 7 . From the origin of the word "kethok" (sign of hitting the kenthongantool) 8to nge- "Prak", the tool used by the director to signal the start or completion of the7

The origin of Kethoprak is from traditional games in the countryside, namely Gejogan and Kothekan

during the full moon. From these games develop with singing, dialogue, and roles. The equipment ormusical instruments were developed by adding other musical instruments such as drums and flutes. In
addition, a short story from the local community was also added. In 1908, the Kethoprak lesung was
brought to Surakarta by Ki Atmocendono, an official of the court government in Klaten. Kethoprak was
perfected by R.M. T. Wreksodiningrat, Kethoprak's trip to Yogyakarta began with a performance at Klaten
Square then moved to Prambanan and continued to the Yogyakarta Sultanate Palace area. This madeKethoprak grow rapidly and eventually became part of Mataram people's life without realizing it. And
along with the times, the performance of Kethoprak in Klaten also experienced ups and downs.
8Kenthongan, a primitive communication tool as a traditional sign (bell) made from the lower part of abamboo tree trunk that is sounded by beatingperformance scene and is currently known as Kethoprak 9. The art was welcomed by thesurrounding community because it was in accordance with the taste of the community
and the situation at that time which really needed entertainment. 10 But now
modernization and globalization have caused many factors that influence the art ofkethoprak. Besides modernization, the emergence of information technology also has amajor influence on the popularity of kethoprak. Today, people have more and more
information services available. Everything adjusts to the demands of the Indonesian
people today. Music, television and films in particular adapt to 'meet the demands' of theyounger generation. Since the younger generation have more options for activities in theirspare time, the art of kethoprak has to compete to attract young audiences.
Kehoprak art besides having the philosophical meaning of "Memayu Hayuning
Bawana" and teaching the history of ancestors, Kethoprak art also contains elements of
ICH in strengthening character education as shown in table 5 is also very entertaining andfun in the process and can be accepted by anyone. In the performance system, it also
involves other branches of art that work together, tied to each other in the interests of theperformance, such as make-up artists, fashion stylists, painting, traditional Kethoprak
stylists, lighting designers, artistic property stylists, which must be able to cooperate witheach other. Kethoprak performing arts have an impact on community empowerment froma social and economic perspective. Besides that, Kethoprak can also be used as a meansof preserving culture and history because it can be used as learning for the younger
generation

9

Research and Development Agency, Ministry of Foreign Affairs in collaboration with Alumni, Kapita

selecta of Indonesian cultural manifestations, 1984, p. 144.
10

1997/1998, "Ketoprak Mataram: Study Studies and History of Art and Performance (1925-1995)" In the

JARAHNITRA Research Report), (Yogyakarta: Research Center for History and Traditional Arts) p. 12

Table.5
ICH Values in Learning the Art of Kethoprak
Support the achievement of Character Education
No
1.

ValuesExampleReligious

Obedient attitudes and behavior in implementing religious
teachings are tolerant of the practice of other religions, and live inharmony with adherents of other religions.

2

HonestBehavior based on efforts to make himself a person who canalways be trusted in words, actions and work

3

Tolerance

Attitudes and actions that respect differences in religion,
ethnicity, opinions, attitudes, and actions of others who are
different from themselves

4

Discipline

Actions that show orderly behavior and comply with various
rules and regulations

5

Cooperating

Behavior that shows a genuine effort to overcome various
obstacles to learning and assignments, and to complete
assignments as well as possible.

6

Creative

Thinking and doing something to produce a new way or result
from something that is already owned

7

Independence

Attitudes and behaviors that are not easily dependent on others incompleting tasks

8

Democratic

A way of thinking, behaving, and acting that values the rights andobligations of oneself and others.

9

Curiosity

Attitudes and actions that always seek to know more deeply andbroadly from something they have learned, seen, and heard

10

Spiritnationalityof A way of thinking, acting and having an insight that places theinterests of the nation and the state above the interests ofthemselves and their groups

11

Love

the A way of thinking, behaving, and acting that shows loyalty,

Motherlandconcern and high respect for language, the physical, social,
cultural, economic and political environment of the nation

12
13
14

Rewarding

Attitudes and actions that encourage people to produce something

Achievements

useful for society, and recognize and respect the success of others

Attempted/

Actions that show enjoyment of talking, associating, andCommunicative

cooperating with others.

Love peace

Attitudes, words, and actions that cause other people to feel
happy and secure in their presence.

15

Like reading

The habit of taking time to read various readings that are good forpeople16

Environmental

Attitudes and actions that always seek to prevent damage to thecaresurrounding natural environment, and develop efforts to repair
natural damage that has occurred

17

Social care

Attitudes and actions that always want to provide assistance toothers and society in need18

Responsibility

The attitudes and behavior of a person to carry out his/her duties
and obligations, which he/she should do, towards himself/herself,society, the environment (natural, social and cultural), thecountry and God Almighty

The table shows that there is a close relationship between the Goals of National Character
Education and the objectives of the Kethoptrak Art subject which are elements of ICH.
Learning the art of Kethoprak in schools is intended to increase sensitivity, ability to express andthe ability to appreciate the beauty of Javanese culture
1. Understand the concept and importance of the art of Kethoprak as part of the art of
Kethoprak;
2. Understand the attitude of appreciation towards the art of Kethoprak as part of the art of
Kethoprak;
3. Showcasing artistic creativity as part of the Art of Kethoprak;
4. Performing participation in the art of Kethoprak as part of the Art of Kethoprak at the local,
regional and global levels.

In general, Kethoprak art learning consists of 4 competency aspects that must be mastered andinterrelated. They are;
1. The element of appreciation is an attitude to appreciate and understand the elements andvalues of character education in Kethoprak artwork
2. The elements of expression include the way in which dialogue is delivered and theappearance of the characters
3. The creative element is related to the activity of creating or discovering new things that
do not yet exist based on the process of mastering the Kethoprak art material being
studied
4. Elements of the ability to master vocal processing such as the basics of Javanese singing
techniques (Tembang), performance scene arrangement
B. School Capacity
In carrying out the case studies, data was obtained that there are similarities anddifferences in school capacity between SD Krista Gracia and SD N 2 Trassin in fostering
students regarding efforts to preserve, protect and promote Intangible Cultural Heritageand its contribution to the development of character education and sustainablecommunity development in supporting culture. This is shown in table 6
Table 6
Secondary Data Type
No

1
2
3
4
5

6

Data Type
Profile School
Decree of Learning Curriculum
Determination
Example of lesson plan syllabus
Learning schedule grade 5
Decree of the Determination of theExtra Curricular Implementation in
Schools
Documents of facility kethoprak art
learning

SD Krista Gracia
Complete
Complete

SD N 2 Trunuh
Complete
Complete

Complete
Complete
There isComplete
Complete
There is noComplete

Not Complete

7
8
9
10
11

12
13

Kethoprak art learning schedule
Documents of Kethoprak art activity
Sampling of student sample report
Achievements of students sample
related to subjects
Partnership documents with thecommunity / other parties insupporting Kethoprak art learning
Book about Kethoprak art
School achievement Kethoprak art

Complete
Complete
There isThere isThere is no
There is no
There isThere isComplete

There is no

There isThere isThere is no
There is no

The results of the analysis based on the indicators from the table are;
1. There is a decision of the principal to carry out extracurricular activities for the art of
Kethoprak
2. The existence of documentation of the activities of the respondent regarding learning
about Intangible Cultural Heritage in their institution is shown in the Secondary
document table below
3. The existence of human resources personnel / personnel and all teaching andeducation staff who are in charge of providing learning services for the Intangible
Cultural Heritage of traditional kethoprak art to students is shown in the evidence inTable 2 and attachment A1 (List of Principal Respondents, Subject Teachers andFigures Public)
4. Technology and infrastructure facilities for learning the Intangible Cultural Heritageof traditional kethoprak art are shown in Appendix C1 with the difference in thecompleteness of the more complete infrastructure facilities at SD Krista Gracia
compared to SD N 2 Trunuh in table 7

Table. 7
Kethoprak Art Learning Facility
No

Kethoprak Art Learning Facility

1
2
3
4
5
6
7

LCD Projector
Wi-Fi data
Sound System
Kethoprak Art Reference Book
Kethoprak Story Textbook
GamelanStage

SD Krista
GraciaComplete
Complete
Complete
Complete
Complete
Complete
Complete

SD N 2 Trunuh
Complete
Complete
Complete
Complete
There is no
Not Complete
There is no

Through the school's capacity in directed learning in the art of kethoprak it isused as a media tool to help educate life, develop cultured humans who have a balanceof their right and left brains, (balance of mind, mind, and heart), and have a mature
personality. Sudarsono (1992: 1) "The art of Kethoprak is an expression of humanbeauty in the form of a rounded concept of thought, in a form that contains rhythm andharmony, and has a form in space time that is known by oneself or other humans in theirenvironment, so that it can understood and enjoyed ”. Jamalus (1991: 1) "A work ofsound art in the form of performing arts that expresses the thoughts and feelings of its
creator through elements of drama expression and harmony music, as a whole is a workof art that can be enjoyed by anyone and has a strong message in its delivery, the valuesof good life.
5. Preparation Procedure for learning the art of kethoprak at SD Krista Gracia
In carrying out Learning activities, teachers at SD Krista Gracia have implemented
the activity procedure as attached in the Document Attachment for Secondary Data
Types 4.1 by fulfilling the Learning stage procedure as in the literature review withthe core activities carried out, are:
5.1 Based on the duties of the principal, the teacher creates a training project for the
performance of the art of Kethoprak and communicates the project in planning thetime committee and its elements to students

5.2 The teacher communicates the Project to be reported to the Principal and otherteachers as well as other parties who will be involved in the training process forthe traditional art performance of kethoprak
5.3 Teachers conduct discussions with students to determine the distribution of roles
for the actors, schedule exercises, collect other supporting resources
5.4 The teacher implements kethoprak art learning for students
6. Learning Approach Model of the art of kethoprak at SD Krista Gracia
6.1 The teacher facilitates students to make observations (Observing) In observing
activities, the teacher opens wide and varied opportunities for students to makeobservations through activities: seeing, listening, material short video shows of
the art of Kethoprak
6.2 The teacher opens opportunities for students to ask questions about what has
been seen, listened to, read or seen about the results of observations of concrete
and abstract objects with respect to facts, concepts, procedures, or other more
abstract things. Factual questions to hypothetical questions. Students are trained
to be able to ask questions independently about all aspects of the Kethoprak
video show
6.3 The teacher takes a value planting approach that emphasizes the social values instudents through discussion of the kethoprak story with the aim of receiving thecharacter values contained in the presentation in all aspects that are inaccordance with the desired social values. In this approach, the methods used in
the learning process include showing the social situation and carrying out
positive reinforcement that occurs in the kethoprak art performance process,through the elaboration of the elements supporting the kethoprak art
performance and the symbolic meaning in its presentation which is thecommunal culture of Javanese society, whose production process involving
many elements of Gamelan, procedures for talking with parents, use of Javanese
language, politeness, and other positive values) conveyed by the teacher
6.4 The teacher carries out a Cognitive Approach to Value Analysis whichemphasizes the ability of students to think logically by analyzing social

problems in kethoprak story shows. The analytical approach helps students
think logically and scientific findings in analyzing social problems as well as
rational and analytical thinking in connecting and formulating concepts aboutsocial values that occur in society. In this approach students are encouraged tothink actively about individual moral problems and make moral decisions
focused on individual morals. By giving an example if students play a role as
one of the characters in the kethoprak story, and what attitude will be taken. In
this approach, there are two objectives, namely helping students make personal
moral considerations and encouraging students to discuss reasons whenchoosing values and their position in deciding a moral problem. Emphasizes
efforts to help students in helping assess the feelings and actions of thecharacters in the video of the kethoprak art story. The purpose of this approachis to help students realize and identify the values of others, help students to beable to communicate openly and honestly with others and to help students
simultaneously use rational thinking skills and emotional awareness, be able tounderstand feelings, values, and their own behavior patterns in the teachingprocess. This approach uses the method of dialogue, discussion, in large andsmall groups by grouping them into the role of the Antagonist, Protagonist,
Tritagonist and Helper.
6.5 The teacher takes the Doing Learning Approach emphasizes providing
opportunities for students to be actively involved by introducing more
supporting components by inviting students to attend committee meetings
which discuss determining and running the production process, in this activity
students are directed to find out the complexity of the problem performance,
economy and training in mutual cooperation with salig help in building
tolerance, togetherness and unity with other parties and society
6.6 Teachers conduct a training process with a schedule as attached to thesecondary document “Kethoprak Art Training Schedule” and photo attachmentsof training activities
6.7 The teacher jointly holds a stage as a manifestation of appreciation for the art oflearning kethoprak in schools

Based on the results of the case study and the above discussion, it is obtained
an analysis that schools that make efforts to preserve, protect and promote
Intangible Cultural Heritage through learning the art of Kethoprak contribute tocharacter development and sustainable community development in supporting
communal work culture in the community and have additional achievements asmotivation for character education stakeholders.
To achieve character education in learning Kethoprak Art, the creativity of ateacher is needed. Teachers must understand and master the concept of character
education and its relationship with the subjects they are assigned to. Developing
learning materials by inserting values to be instilled in students by using various
learning methods and strategies. Teachers as a substitute for parents of students at
school should be aware, understand, and care. Character Education Values.
In learning the art of kethoprak at SD Krista Gracia, in the process ofplanting character values, the effective method used by the teacher is thedemonstration method. The demonstration method is a way of presenting lessons bydemonstrating to students a certain process, situation or object that is being studied
either in actual form or in imitation form shown by teachers or other learning
resources who are experts in the topic of discussion. Methods are materials,
approaches and media used to show a process or way of working of an object withrespect to the subject matter. In the process of instilling character values in learning
Kethoprak Art (music) using the demonstration method, it will make it easier forteachers to see the character forms set forth by the Ministry of National Education.
For example in learning planning designed about the Kethoprak game the teacher
must first demonstrate how the form of the Kethoprak show with certain steps tostudents then how to play it, must be exemplified first so that students canunderstand clearly because the object they are learning is in front of them. They arewithout explanations, because it does not attract the attention of students and isdifficult for them to understand.

The advantage of the demonstration method in learning Kethoprak Art at SD
Krista Gracia is that children's
attention can be more focused,children's learning processes are
more focused on the material
being studied, experiences andimpressions as a result of learning
are more inherent in children, canprovide learning experiences sothat children can master the
expected ability to better, help students clearly understand the course of a process orwork of an object / event
C. Interest in learning the Intangible Cultural Heritage of kethoprak art
Students become important objects in this case study, because students are people
who are carrying out a structured learning process at each level that is consciously
designed and implemented to acquire knowledge and gain certain competencies. This is
the same as what was conveyed about the role of the younger generation by Dhian in the
results of his thesis research entitled "The Role of Youth in Preserving Kethoprak Art and
Its Implications for Regional Cultural Resilience", that the role of youth in preserving theart of Kethoprak has an impact on the creation of regional cultural resilience, namely
strengthening cultural values in strengthening regional cultural resilience, fostering youth
awareness and interest in the art of Kethoprak, and increasing self-confidence and pridein the culture they have. 11
All respondent students from SD N 2 Trunuh and SD Krista Gracia are interested
in learning the art of kethoprak with evidence in the answer to the B1Questionnaire
Summary No. 6 and 27 and the parents of students are also very supportive of learning
11

DHIAN KARTIKAWATI, Dr. Iva Ariani; Dr Rr Paramitha Dyah Fitriasari, M, Hum, Yogyakarta, "TheRole of Youth in Preserving the Art of Ketoprak and Its Implications for Regional Cultural Resilience",
2017.

the art of kethoprak in schools as evidenced by the answers to the B2 questionnaire. No.
21.
Based on the results of the case study and discussion above, it is obtained theanalysis that all have an interest in learning traditional arts, especially kethoprak because
for students this is very fun and is a new experience and obtains a lot of knowledge about
traditional Kethoprak art by being directly involved and able to motivate more, respect
the traditional art works of their own region and provide energy for the growth ofcreativity in creating works for children
Learning the Art of Kethoprak
for cognitive students includes theability to restate the concepts or
principles that have been learned, withregard to thinking skills, competence toacquireknowledge,

understanding,recognition,

conceptualizationofdetermination and reasoning. Learning
objectives in the cognitive realm are achieved from not knowing to knowing. Throughmore emphasis on providing direct practical experience, students are able to takeadvantage of the art of Kethoprak in everyday life. In this regard, Kethoprak art education
is provided at Ktrista Gracia Elementary School because of its uniqueness, meaning, andbenefit to the development needs of students, which lies in providing aesthetic
experiences in the form of expressive / creative and appreciative activities throughlearning approaches to art, learning through art and learning about art is very motivating
for students
D. The effect of increasing the participation of students in other subjects
1. The effect of character education participation in schools is shown in the answers to allinterview questionnaires for school principals, teachers, students, parents and thecommunity.
2. The effect of character education participation at home is shown in the answer to theB2 questionnaire (parent interview questionnaire)3. The development of students in other subjects increased more in SD Krista Gracia
respondents than SD N 2 Trassin's evidence of respondent's report cards
Table 1Comparison of Student Respondents' Report
Before taking the Class 5 Kethoprak Art Subject, semester 1
No

Subject

1

Art andcultureVernacular
Historical
SocialScience
CivicsStudent Sample Respondent
SD Krista Gracia

Student Sample Respondent
SD N 2 Trunuh

RP.1.5 RP.1.7 RP.1.8 RP.1.9 RP.2.1 RP.2.6 RP.2.7 RP.2.9

2
3

4

7,1

7,5

7,0

7,7

7,0

8,0

7,5

7,0

7,5
7,0

8,0
7,5

7,2
7,5

8,2
7,5

7,0
8,2

7,5
7,0

6,9
7,0

7,0
7,5

7,6

8,0

8,0

7,5

8,0

7,0

7,0

8,1

Table 2Comparison of Student Respondents' Report
After taking the Class 5 Kethoprak Art Subject, semester 1
No

Subject

1

Art andcultureVernacular
Historical
SocialScience
CivicsStudent Sample Respondent
SD Krista Gracia

Student Sample Respondent
SD N 2 Trunuh

RP.1.5 RP.1.7 RP.1.8 RP.1.9 RP.2.1 RP.2.6 RP.2.7 RP.2.9

2
3

4

8,0

8,0

7,5

8,5

7,0

8,0

7,5

7,0

8,5
7,5

8,0
8,0

7,5
8,0

8,7
8,0

7,0
8,2

7,5
7,0

6,9
7,0

7,0
7,5

7,9

8,5

8,5

8,5

8,0

7,0

7,0

8,1

Based on the results of the case study and the above discussion, it is obtained theanalysis that there is a significant influence and linear regression as well as a positive
correlation of interest motivation and the results of increasing student participation onlearning Intangible Cultural Heritage of kethoprak art which has a positive development

effect on character education of students in supporting achievement other academic
subjects
1. Participation and community involvement in the development of traditional
kethoprak art in providing solutions to socio-cultural and environmental problems
between schools that conduct kethoprak art learning and those that do not conduct
kethoprak art learning, the community is involved, supports and contributes positively
in solutions to socio-cultural problems and environment
Based on the results of the case study and the above discussion, it is obtained ananalysis that there is interest and community involvement in the development of the
traditional art of kethoprak in providing solutions to socio-cultural and environmental
problems. Cultural Arts is everything that humans create about how to live develops
together in a group that has an element of beauty (aesthetics) from generation to
generation. So in learning the Art of Kethoprak it is like inviting educators to develop
and behave in daily life according to the values and norms that lead to the formation ofcharacter and noble character of students as a whole which in turn will create awarenessin social and environmental concerns.

CHAPTER V
CLOSING
A. Conclusion
Based on the results of the analysis and discussion, it is concluded that there
are differences in the results and impacts of the Quality of Character
Education and Sustainable Development in schools that do and do not learn
the Intangible Cultural Heritage of traditional art kethoprak in formal schools
on the contribution of SDGs 4 are:
1. The value of learning values in all elements of Kethoprak Art is an elementof ICH that supports Character Education and sustainable community
development
2. The capacity and contribution of schools in fostering students towards
preservation, protection and promotion of Intangible Cultural Heritage,development through character education and sustainable community
development through learning the art of kethoprak has better results andmore beneficial impacts for good
3. Increasing the motivation and participation of students in learning
Intangible Cultural Heritage is very influential on the academic
development of the subjects of Kethoprak Arts, regional languages,
historical social science and civic education and the learning process isvery enjoyable.
4. ICH education elements in the art of kethoprak greatly help increase themental capacity and character of students in communicating, socializing,
expressing and appreciating the teachings of local wisdom in society as aneffort to promote community development itself
5. ICH education contributes to community development and solutions tosocial problems do not appear to be significant because the sample
primary school age is still children so that not much involvement in social
society is not maximized, although there are some who participate inchildren's social activities in the form of mutual cleanliness in theirneighborhood

The contribution of kethoprak art to SDGs 11 is the participation andinvolvement of the community for the development of traditional
kethoprak art in providing solutions to socio-cultural and environmental
problems supporting a communal work culture in society, this is indicatedby
4. Growing feelings of solidarity, cooperation and unity in fostering a
sense of social care in a community of mutual cooperation
5. Forming groups based on preserving the traditional art of kethoprak inschools
6. Community involvement is very important and greatly influences ICH
education in schools and the community itself in developing
themselves according to local potential and achieving the SDG goals.
With kethoprak learning, besides being able to instill ICH values inJavanese culture for the community, it is also hoped that school
students as the nation's future young generation can preserve theirown culture.
7. The art of Kethoprak can again contribute to the socio-economic
empowerment of the community by contributing to providing
resources, opportunities, knowledge and skills to the community toincrease their ability to determine their own future and participate in
and influence the lives of their people, towards the SDGs for theworld community.
8. Traditional Kethoprak art, especially kethoprak, by utilizing people's
creativity, will increase participation in the field of education, social
empowerment, and strengthen culture and economy without
sacrificing the spirit of Javanese culture, so that Javanese traditional
culture can provide significant benefits for the community itself.

B. Follow up plan
The follow-up plan is that the Dewi Fortuna Community Learning
Center will conduct a case study development by holding an Extra-curricular
Kethoprak Art in Nonformal Education, this is to answer whether programs
that use ICH in formal education are different from programs in non-formal
education in terms of education quality and community development? andEmphasis on the value of ICH values which may be more efficient andeffective in Nonformal Education and knowing whether the contribution of
ICH is wider, its impact, especially on SDGs. 5, 8, 9, 15, 17 if it is carried out
in Nonformal Education because the students are of various ages and havemore free time both online and face-to-face in small groups by complying
with health protocols to prevent the transmission of the virus COVID-19
After obtaining the results of the report on the implementation of theextra-curricular kethoprak in non-formal education, we will hold a workshop/ symposium on learning the art of Kethoprak in strengthening ICH to
support SDGs for students in Klaten through a symposium, with the goals:
1. Report the results of the study of capacity building and the role of youth incommunity development and contribute to social problems throughkethoprak
2. Report the impact and results of extra-curricular implementation between
formal and non-formal education, relating to the quality of education.
3. Providing knowledge about the economy and creative entrepreneurshipbased on traditional cultural values.
4. Encourage the Government to take a regulatory approach for the benefit of
ICH in learning to create youth in Klaten Regency

C. Future Perspectives
The future perspectives of the 3 programs that we carry out we will produce;
1. The publication of a research book resulting from this report on the valueof ICH in kethoprak art in Klaten
2. Encourage the Village Government to issue Village Regulations (Perdes)
concerning Conservation, Management and Utilization of ICH in the
Village
3. Encourage the Regent of Klaten to Issue Instructions in the Field of
Compulsory

Formal

Education

Extracurricularand

Non-Formal

Educational Institutions Mandatory to implement Skills in the art of
Kethoprak
4. Maximizing Community Involvement in the preservation, maintenance,
management and use of ICH for sustainable development by forming a
Kethoprak Art Community Group as an agent for the Promotion ofCultural Heritage at every school level
5. Providing assistance and guidance for learning the Art of Kethoprak forformal schools in Klaten by compiling a kethoprak story script about
local wisdom
6. Encouraging the identity of Klaten as the City of Kethoprak Arts
The life of Kethoprak art and the local cultural values of the Javanese people remainstrong, exist and community development that is guided by the memayu hayuning
bawana tradition remains and its positive values can be utilized for a better life because
ICH as an important factor in cultural identity has an important role in development
national and international in the era of globalization. Kethoprak and these culturalvalues are threatened by the global cultural standardization, which can immediately beovercome through the integration of education with culture.

Klaten, 31 October 2020
Ketua Pengelola
PKBM Dewi Fortuna Klaten

KRISTIAN APRIYANTA, S.Pd

CASE STUDYVISIONARY LOCAL COMMUNITIESIN PROMOTING ICH EDUCATIONIN KYRGYZSTANFINAL REPORT
Prepared by:
Jyldyz Doolbekova (PhD), Almagul Osmonova
Taalim-Forum Public Foundation

Case Study. Kyrgyzstan. Final Report, January 15, 2021

TABLE OF CONTENTS
Acknowledgements

3

INTRODUCTION 4
THE PURPOSE, CONCEPTUAL FRAMEWORK & METHODOLOGY OF THE RESEARCH 6
I. THE FOCUSED SOCIAL ISSUE. Poverty alleviation and gender equality in Kyrgyzstan
II. THE TARGET ICH ELEMENT. Reviving the nomadic heritage of the Kyrgyz yurt 9
III. THE TARGET COMMUNITIES 15
Case Study 1. Kyzyl-Tuu: Yurt makers 15
Case Study 2. Sary Mogol: Masters of patterned weaving 19
Case Study 3. Acha-Kaiyndy: Felt carpet makers 22
Case Study 4. Bokonbaev: Eagle people 25
IV. WHAT ACTIVITIES (FIELD RESEARCH/DESK SURVEY) WERE CONDUCTED 28
V. THE OUTCOMES 29
VI. SUGGESTIONS FOR FUTURE ACTIVITIES 34
LIST OF LITERATURE 36
Photo Credits 39

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Case Study. Kyrgyzstan. Final Report, January 15, 2021

ACKNOWLEDGEMENTS
This report and the research behind would not been possible without support of the experts,
consultants, research assistants and people who helped with translations and preparation.
On behalf of Taalim-Forum Public Foundation, we would like to express our gratitude to the groupof experts and consultants who have participated in the interesting and inspiring discussions
and shared their ideas, thoughts, and insightful comments. Among them are a Director of theInstitute Sustainable Development Strategy (ISDS) Anara Alymkulova, a Director of the State
History Museum Dr. Keneshbek Almakuchukov, a Director of the Kurmanjan Datka Museum of
Nomadic Civilization Dr. Aida Alymova, a Director of the Centre of Museum Initiatives Dr. Cholpon
Turdalieva, Research Fellow of the University in Central Asia (UCA) Aibek Baiymbetov.
The leaders of the local public organizations – a Director of the Kiyiz Duino public foundation
Aidai Asangulova and a leader of the Salbuurun Federation Almaz Akunov – provided us with thenecessary information, images, and all possible assistance regarding their communities in IssykKul province.
Since Kyrgyz yurt is listed together with the Kazakh yurt in the UNESCO ICH List, we are sincerely
grateful for her contribution to Professor of Philosophy G. Bilyalova from Kazakhstan.
We are extremely thankful to the team of the research assistants including Farida Sainazarova,
Döölöt Rysbaev, Asel Urkunbaeva, who despite the severe conditions of the cold winter and
COVID-19 pandemic situation, conducted the field surveys by meeting numerous respondents inthe communities and collected valuable information for the report. It was especially challenging
for Farida, who has travelled to the most remote village in the high mountainous district of ChonAlay.
Our translator A.Djumabaeva, IT specialist A.Jolchubekova and graphic designers A.Nurmambetov
and A.Madlymbekova helped us with report translation and preparation.
We would like to express our gratitude to the IRCI for the opportunity to participate in the Project“Research on ICH Contribution to SDGs – Education and Community Development” and providing
financial support to conduct our case study in Kyrgyzstan.

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Case Study. Kyrgyzstan. Final Report, January 15, 2021

INTRODUCTION
Kyrgyz Republic is a small landlocked mountainous country located in Central Asia. The country
is almost entirely mountainous, lying within the Tien Shan mountain range. It borders with
Kazakhstan, Tajikistan, Uzbekistan, and China. The population of the Kyrgyz Republic is 6.523
million people 1. The land area is 199,900 km², out of which 93 % is mountainous lands that lie atelevations between 1,000 m and 7,400 m above sea level, 6.3 % is agricultural land with extensive
natural resources (pastures, fresh water, glaciers, forests). The capital city Bishkek is located in thenorth of the country. The state is divided in 7 administrative regions. Historically, the country was
located at the crossroads of various cultures and the Great Silk Road.

Intangible cultural heritage (ICH) of Kyrgyz people includes wisdom, knowledge, practices and“traditions or living expressions inherited from our ancestors and passed on to our descendants”2.
Today the processes of globalization, homogenization and emerging radical religious
fundamentalism are threatening the intangible cultural heritage and increasing pressure on the
distinct cultural identities in Kyrgyzstan as well as in other post-Soviet countries in Central Asia.
Despite the prevailing process of globalization and political fluctuations, people of Kyrgyzstan
make efforts to preserve their distinct culture and cultural identity. Today we can observe the1 http://www.stat.kg/en/statistics/naselenie/

2 https://ich.unesco.org/en/what-is-intangible-heritage-00003
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Case Study. Kyrgyzstan. Final Report, January 15, 2021

emergence of the local communities leading the process of revitalising of the cultural and spiritual
practices, values and wisdom of the nomadic heritage. Without idealization the traditions of thepast, these communities, their leaders and passionate activists support safeguarding of ICH.
Together with cultural practitioners and bearers of traditional knowledge they are reviving theways of life that integrate traditions and innovations and connect generations. We call thesecommunities “visionary” because they not only preserve traditional knowledge and skills, butalso, together with creative practitioners and spiritual leaders initiate cultural networks, grassroots
organizations and cooperatives and collaborate with local and international organizations topromote further ICH in Kyrgyzstan.
Kyrgyzstan is one of the first Central Asian countries to ratify the Convention for the Safeguardingof the Intangible Cultural Heritage3. Kyrgyzstan promotes the ideas of the Convention at thenational, regional and international levels. The government of the country undertook certain
steps to fulfil obligations to preserve ICH including establishing two departments in the Ministryof Culture, Information and Tourism for preservation, monitoring and development of culturaland historical heritage. The National Commission of the Kyrgyz Republic for UNESCO and theSecretariat have been established to support and promote this mission.
Kyrgyz heritage elementsin the Representative List of Intangible Cultural Heritage of Humanity:• Art of Akyns, Kyrgyz epic tellers (2008);• Kyrgyz epic trilogy: Manas, Semetey, Seytek (2013);• Traditional knowledge and skills in making Kyrgyz and Kazakh yurts (Turkic nomadic
dwellings) (2014);• Aitysh/Aitys, art of improvisation (2015);• Nooruz and Flatbread making and sharing culture (Jupka) (2016);• Kӧk bӧrὕ, traditional horse game (2017);• Ak-kalpak craftsmanship, traditional knowledge and skills in making and wearing
Kyrgyz men’s headwear (2019)
in the List of Intangible Cultural Heritage in Need of Urgent Safeguarding:• Kyrgyz and Traditional Art of Making Felt Carpets Ala-Kiyiz and Shyrdak (2012).
The Sustainable Development Goals (SDG) adopted as a new agenda by the 70th General Assemblyof the United Nations, have been included in public policies such as National Development
Strategy (2018–2040)4, and other national programs of the Kyrgyz Republic. The goal of the 2018–
2040 Strategy is to ensure a decent standard of living for each citizen through the framework ofsustainable economic development. The Kyrgyz Republic declared its adherence to the global
commitment to ‘leave no one behind’, with a special emphasis and focus on prioritizing the mostvulnerable groups of the population.

3 Convention for the Safeguarding of the Intangible Cultural Heritage https://ich.unesco.org/doc/src/15164-EN.pdf

4 Национальная стратегия развития Кыргызской Республики на 2018-2040 годы (National Strategy of Development of the
Kyrgyz Republic for 2018-2040) http://www.stat.kg/ru/nsur/
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Case Study. Kyrgyzstan. Final Report, January 15, 2021

THE PURPOSE, CONCEPTUAL FRAMEWORK &METHODOLOGY OF THE RESEARCH
The purpose of the research (case study) is to examine the value of ICH and its contribution to
local-level development through studying and analysing experience of “visionary communities” inKyrgyzstan and community-based safeguarding of ICH with the focus on “functional preservation”
and transmitting ICH as “living culture”. The research with the focus on selected “visionary
communities” in Kyrgyzstan is aimed to reveal connections between safeguarding ICH andachieving SDGs5 including sustainable development of communities (SDG 11), achieving genderequality and empower women and girls (SDG 5) and ensuring inclusive and equitable quality
education and promoting lifelong learning opportunities for all (SDG 4).
Conceptual framework of the research is based on a holistic perspective of cultural heritage
which makes safeguarding of ICH purposeful and supports sustainable development. The researchsupports re-examination and re-adaptation of the conceptual framework of cultural heritage,
based on accepting its functional socioeconomic dimension6. This is contemporary heritagecentred and development discourse, which considers cultural heritage as a central feature ofcommunity and economic revitalization. We support the idea that heritage as a powerful economic
and social resource and a development asset can be used to catalyse local-level development,
provide employment, generate income, revitalize local rural areas, enhance environmental
protection and strengthen communities’ social capital and promote gender equality7. Locallevel development improves community’s wellbeing, which is based on the intersection of social,economic, environmental, cultural, and political factors and is essential for people to fulfil theirpotential.
The term “visionary communities” refers to communities with the capacity to act as true leaders insafeguarding of the intangible cultural heritage. These are communities that carefully preserve andenrich their original culture, knowledge and skills without losing the deeper cultural meanings andvalues contained in the mastery of making nomadic yurts, felt carpets, patterned weaving, traditional
games, and related ceremonies and rituals. These communities have a deeper understanding of
the importance and necessity of transferring this knowledge to younger generations; they strive
to improve the well-being of their communities through revitalization and integration of cultural
heritage into modern life on the principles of sustainable development. In their work, they seek
and secure support from public organizations and attract the attention of international donors toopen up new opportunities for income-generating activities.
The methodology of the research includes desktop study (Phase I) of the available information
related to contribution of local visionary communities to safeguarding ICH and improving thewellbeing and sustainable development of communities, including:
•
•
•
•
•

Official documents and reports on preserving ICH and achieving SDG goals in Kyrgyzstan;
Available statistics, relevant qualitative or quantitative data on national, regional, and local
levels;Reports and reviews of the international and research organizations (UNESCO, UNICEF, OECD,
IRCI);
Academic publications, reports and articles;Media products.

5 https://sdgs.un.org/goals

6 Loulanski, Tolina. Revising the Concept for Cultural Heritage: The Argument for a Functional Approach. May 2006 International
Journal of Cultural Property 13(02):207 – 233.
7 World Bank. 1998. Culture and Sustainable Development. A Framework for Action. Washington: The World Bank.
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Case Study. Kyrgyzstan. Final Report, January 15, 2021

The field research was conducted in December 2020 (Phase II) in the targeted four local communities
in three provinces of Kyrgyzstan: Issyk-Kul, Naryn, and Osh. The field research included thefollowing activities:•••

Focus group discussions;Interviews with bearers of traditional knowledge, cultural practitioners, masters in yurt making,weavers, and felt carpets’ makers;
Analysis of the received data and relevant information.

The consultations, interviews, and focus group discussions with experts on ICH were conductedin Phase I and II.

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Case Study. Kyrgyzstan. Final Report, January 15, 2021

I. THE FOCUSED SOCIAL ISSUES
The research is focusing at the following social issues: poverty alleviation and gender issues in rural
areas. The sharp increase in poverty level is directly connected to political and economic crisesthat followed the collapse of the Soviet Union (1991). Gender issues, rooted in the patriarchal
way of life, have been complicated by new challenges for men and women during the transition
period. After the collapse of the Soviet Union, transition from planned and centralized economic
system to market economy followed by significant rise of unemployment and migration processes.
Poverty in the Kyrgyz Republic has its own specifics, which can be explained by economic, ethnocultural, geographical, regional and other factors. The majority of the poor live in the remote andisolated communities with low labour productivity in agro-industrial sector, seasonality of work,insufficient level of social and cultural security. The families with many children are most likely bein the group of the poorest people. The residents of high mountainous regions suffer the mostfrom social vulnerability. Despite the fact that the monetary incomes of the population haveincreased for the last 30 years, more than one third of the population is considered as poor8.
According the National Statistics reports, 66% of the population of the country lives in rural areas9
where people are engaged mainly in agriculture with limited opportunities for other economic
activities. In 2019, 73.8% of poor people lived in the rural places10. Poverty significantly narrows
the possibilities of receiving social services, obtaining health services, education and housing.
The poverty rate among men and women in the country does not have a pronounced disparity.
However, the excess of the employment rate of men in relation to the level of employmentof women was noted in all age groups: participation of women in the labour market was 48%
compared with 75.8% participation of men11. Therefore, women in the country have lower
employment opportunities, face gender wage gap and are more susceptible to poverty.
The pandemic caused by COVID-19 further exacerbated the situation of the rural population, as
many labour migrants had to return to their homeland, the amount of money transfers to thecountry decreased significantly12.

8 Azimova G.R. (2018) Uroven zhizni naseleniya, bezrabotitsa i formirovanie rabochikh mest v sovremennom Kyrgyzstane (Living
standards, unemployment and job creation in modern Kyrgyzstan). Ekonomika truda. 5. (1). – 313-328. doi: 10.18334/et.5.1.38898
9 Демографический ежегодник Кыргызской Республики (Annual demographic report of the Kyrgyz Republic). 2015-2019:http://www.stat.kg/ru/publications/demograficheskij-ezhegodnik-kyrgyzskoj-respubliki/
10 Уровень бедности населения Кыргызской Республики в 2019 году (The level of poverty of the population of Kyrgyz
Republic in 2019): http://www.stat.kg/ru/publications/uroven-bednosti-v-kyrgyzskoj-respublike/11 Женщины и мужчины Кыргызской Республики (Men and Women of the Kyrgyz Republic): 2014-2018. Б.: 2019 http://www.
stat.kg/ru/publications/sbornik-zhenshiny-i-muzhchiny-kyrgyzskoj-respubliki/
12 https://24.kg/english/155907_Volume_of_remittances_from_Kyrgyz_migrants_reduces_almost_twice/
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II. THE TARGET ICH ELEMENT
The target ICH element of the research is the culture related to a nomadic yurt – knowledge andmastery in making yurts, craft of making felt carpets and weaving patterned braids.
Kyrgyz as well as Kazakh yurt is a traditional housing of nomadic people; embodiment and integral
reflection of the nomadic way of life, traditions, values and worldview of their ancestors. The yurt
is a mobile dwelling, dome-shaped with a rounded roof created by curved roof poles and acircular trellis walled frame. The yurt reflects the adaptation of people to the natural and climaticconditions of the high mountains (Kyrgyz) and the Great Steppe (Kazakhs) and traditional wayof life and economy depended on cattle breeding and hunting. It also determined the way ofperception and thinking of ancient nomads.

The Kyrgyz yurt

In its essence, the nomadic worldview was holistic and supported harmonious coexistence withnature13. A close connection and parallel between the metaphoric and conceptual model of theworld and the yurt can be traced in its architecture, in which every part is deeply symbolic. The
upper round opening in the yurt tunduk (Kyrgyz) or shanyrak (Kazakh) symbolizes the sky andheavenly bodies (moon, sun, and stars). Many cultural and spiritual traditions, concepts, sacredcustoms, ceremonies and rituals among the Kyrgyz and Kazakhs are associated with the upper
round frame of the yurt. The trellis part of the yurt (kerege) symbolizes the Earth, and the roof
poles (uuk in Kyrgyz or uyk in Kazakh) personify the sacred connection between Heaven and Earth.
A yurt is not just a dwelling, but a living space, an environment that preserves, reproduces and13 Абдрасулов С.М. Введение в философию номадов или опыт философского осмысления культурных оснований кыргызов // Республика. – 1995.
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maintains the connections between Man and Nature and its landscapes, which was an effective
mechanism to preserve and transmit the integrity of traditional ecological knowledge, experience,practice, and beliefs from generation to generation14.

The wooden frame of the yurt
The yurt is exclusively made from local natural materials and by hand. The frame and the skeleton(kerege, uuk, tunduk/shanyrak) are made of wood, fasteners for the trellis are made of leather.
Manufacturing the wooden carcass of the yurt is a laborious and time-consuming process, it consistsof several sequential processes: harvesting, drying, and cleaning the wood, making wooden parts,
giving them the needed thickness and shape15. The size of the yurt and its decoration can tell about
the social status of a family. Structural elements, manufacturing technique, as well as decorations
for Kyrgyz and Kazakh yurts, have common features, but still have their own characteristics.
Knowledge and technologies on the preparation of the materials, woodworking and fastening
system, secrets of installing, disassembling, transporting, and storing a yurt have been passed
down from generation to generation. A master, customarily a man (uychu or uyshi), was highly
respected, considered as a pride of the family, his skills were sung in poetry and prose.
The entire wooden structure of the yurt is covered with felt (kiyiz) – one of the ancient materials
used for different purposes by people in Central Asia. It is waterproof and provides temperatureinsulation. Three pieces of felt are needed to cover the walls of a medium-sized yurt, and four-fivefor a larger yurt. The width of each felt piece is 1.7-2 m, the length is 2.5-5.5 m.
14 Юрта и особенности мировосприятия казахов. https://stanradar.com/news/full/31180-jurta-i-osobennosti-mirovospritijakazahov-.html
15 А. Кочкунов. Этнические традиции кыргызского народа (социокультурные аспекты и некоторые вопросы генезиса).
Национальная Академия наук, Бишкек, 2013, с. 185 (A.Kochkunov. Ethnic traditions of Kyrgyz people (socio-cultural aspects
and issues of genesis). National Academy of Science, Bishkek, 2013, p.185
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The skills and abilities of Kyrgyz people in making felt and felt carpets to cover the floor inside
the yurt (shyrdak, ala-kiyiz) have ancient historical roots dating back to the era of early nomads,
when a variety of types and categories, technological methods, and ornamental solutions of felt
products developed. Shyrdak symbolized the concept of family well-being, and with appropriatecare, it could serve for several generations. The process of making felt and felt carpets required
the collective efforts of community members and served as a socializing, unifying factor. All family
members, relatives, and neighbours customarily took part in the process, which was accompanied
by a ritual feast, as well as telling stories by the older women.
The mastery and skills in making felt carpets are passed on to younger learners through joint workwith experienced women: processing wool, making felt, preparing yarn, dyeing, cutting patterns
from felt layers, and stitching them together. Creation of a pattern, compositional solution, andcolour scheme are also the prerogative of women. However, the role of men is also important: theyraise sheep, prepare wool, do other physical work, chop wood, carry water. Children of artisans
help adults to comb wool and do felting.
Based on the variety of compositional and ornamental solutions, about 15 types of felt carpets
can be differentiated, although the use of their own techniques and patterns by artisans makes
each shyrdak original and unique. Patterns and ornaments have their own narrative meaning.
Combined, they can tell a story, for example, about hunters and hunting birds, they can containwishes for a prosperous life for a young family. Colour combinations carry aesthetic, emotional,
and symbolic meanings: confrontation and harmony of heavenly and earthly, male and female,light and darkness, good and evil. Classic colour combinations include blue-red, red-green, redblack, black and white. Shyrdak could demonstrate the wellbeing and connection to the area ofresidence and social status.
Groups of ornamental motives
Geometric:
zigzag and wavy lines, round, triangular anddiamond-shaped shapes. They symbolize
ideas about earth, water, mountains,heavenly bodies, the idea of fertility.
Zoomorphic:
müiüz (horns), syngan müiüz (broken horn),kara tyrmak (raven’s claw), it kuyruk (dog’s
tails). Semantic load: strength, courage,
prosperity, security signs, amulets.

Ornaments of animal and plant world
Kochkor Müiüz (artiodactyl horn)

It kuiruk (dog tail)Badam (almond)

Vegetable:
sprout, flower, tree of life.
Semantic load: life, amulet.

In 2012, felt carpets shyrdak and ala-kiyiz were included in the List of Intangible Cultural Heritagein Need of Urgent Safeguarding16, which means that Kyrgyzstan needs to undertake the urgent
measures to keep them alive.
The process of making felt by craftswomen was first described in detail by Russian researchers
K.Antipina, E.Makhova, S.Abramzon, and others. They also noted highly artistic samples of lintfree patterned fabrics. These woven braids were used to reinforce the frame of the yurt, fastening
16 https://ich.unesco.org/en/USL/ala-kiyiz-and-shyrdak-art-of-kyrgyz-traditional-felt-carpets-00693
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the elements, and for interior decoration. Traditionally, this craft was carried out by women who
have preserved the techniques of ancient patterned weaving.
The yarn is made of wool in a traditional way by hand. For all types of weaving the simple folding
looms were used. They used patterned weaving of different techniques – terme, kadzhary, beshkeshte. Terme is distinguished by the density and relief of the texture, the penetration of the coloursof the pattern, and the background with a protruding pattern on the front side or a double-sided
pattern. Kadzhary is a more complex weave using traditional ornamental motifs from the animal
world. The besh-keshte technique differs in that a convex pattern is created on a light backgroundby weaving and geometric motifs prevail.

Patterned weaving of masters of Chon Alay

The interior of the Kyrgyz yurt is traditionally highly decorated, and its beauty reflects upon thevariety of skills of women. It is also symbolic space, where the position of every item follows adesign of interior order. The skills of female handicraft were kept and inherited within the family
and within the clan. Traditionally, the interior decoration of the yurt, its furnishings, the quality anddesign of hand-made clothing were some of the key indicators of position, statues, and culturalgrouping. The division of labour into male and female was not strict. Both women and men took
part in the processing of skin, leather, and manufacturing of the elements17.
The yurt accompanied nomads from birth to death andreflected the unity and balance of spiritual and materialvalues. Thus, all stages from the preparation of raw
materials and manufacturing to installation and haulingthe yurt were accompanied by ceremonies and rituals,
which reflected the worldview and values of the nomadic
people. Installation of the yurt often followed by therituals that are associated with protecting a family’s
wellbeing and avoiding the “evil eye”. One of the rituals
included attaching a piece of old felt into the new yurt
as a talisman.
According to the research conducted by the Rural
Development Fund (2010-2012)18, today Kyrgyz people
are in the process of loss of traditional knowledge andskills related to the yurts. Meanings and functionalfeatures of the yurt’s parts, symbols, techniques in
17 Кыргызы. Серия «Народы и Культуры», М., Наука 2016. с. 191(Kyrgyz. “People and Cultures” Series, Moscow, Nauka publisher, 2016,p.191)A Kyrgyz felt carpet – shyrdak

18 «Traditions of nomadic Kyrgyz», Collection from the series «Traditional knowledge of the Kyrgyz to help livestock breeders»,
Developed by the Rural Development Fund (RDF)
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Interior of the Kyrgyz yurt

making, installation and storage, traditions andrituals associated with the yurt – most of thisknowledge and skills are seen as a thing of the past.
With the transition to a sedentary lifestyle, gradually
the role and significance of the yurt in everyday life
reduced to being used only on special occasions(celebrations, funerals) and demonstrations of the
traditional culture at exhibitions and museums. In
70 years of the Soviet time, the yurt lost most of its
functionality and symbolism in everyday life, became
an element of a fragmentary demonstration of theculture of nomads.
Such skills like patterned weaving are quite rarely
practised these days, especially by young women.
Alongside, the knowledge and meanings embedded
in patterns are getting lost. The iron frames repeating
the form of the yurt not only started replacing
traditional yurts, but they also ruin the wholenessof nomadic worldview embedded in this traditional
dwelling.

The size of a standard yurt is 6 m
in the diameter, with a total areaof 30 sq. m. Height – up to 3 m,diameter of tündük / shanyrak – 2
m. 2-3 experienced people canassemble a yurt in one hour anddisassemble it in 2 hours. It takes
a craftsman about a month to
make the frame and other parts of
the yurt. The production of a felt
covering for a yurt requires wool of
25 sheep; on average a yurt can beused for 25 years.

“Traditional knowledge and skills of making Kyrgyz
and Kazakh yurts” was the first joint nomination ofPage 13 of 40

Case Study. Kyrgyzstan. Final Report, January 15, 2021

Traditional household items inside the Kyrgyz yurt

Kyrgyzstan and Kazakhstan for UNESCO Representative List of ICH of Humanity 19. Today, traditional
knowledge and skills in yurt making are being revived and contribute to the consolidation,
constructive cooperation and sustainable development of local communities. Importance oftransmission of knowledge, techniques and skills in yurt-making together with cultural and spiritual
meanings from master to apprentice, from father to son, from mother to daughter is paramount.

19 https://ich.unesco.org/en/RL/traditional-knowledge-and-skills-in-making-kyrgyz-and-kazakh-yurts-turkic-nomadicdwellings-00998
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III. THE TARGET COMMUNITIESCase Study 1. KYRGYZ YURT MAKERS
Kyzyl-Tuu village, Ton district, Issyk Kul province

Women of Kyzyl-Tuu village during the Felt Festival Kiyiz Duino

Kyzyl-Tuu village is located on the southern shore of Issyk-Kul lake, at an altitude of 1,700 m
above sea level, 230 km from the capital city. This is one of the popular tourist destinations withattractive landscapes, crystal waterfalls, rivers, lakes, canyons, stunning sunsets and sunrises. IssykKul Lake (“hot lake” from Kyrgyz) is located 500 meters from the village. There are many natural
sacred places in this area including the holy springs of Manzhyly ata, the healing properties ofwhich are well-known20.
According to the official statistics, the total population of the village is 1,850 people, a total
number of households is 470. In comparison with other villages, the level of labour migration
is much lower. In general, the villagers are engaged in raising livestock, handicrafts, and ethnotourism21. More than a hundred masters of making traditional yurts live in the village. Amongthem, masters of the older generation make up 10%, the middle generation – 60%, and the young– 30%22.
20 Святые места Севера Кыргызстана: Природа, Человек, Духовность, стр. 56, Бишкек 2015 (Sacred places of the Northern
Kyrgyzstan: Nature, Human, Spirituality)

21 Ethno-tourism is a specialized type of cultural tourism and … is defined as any excursion which focuses on the works ofhumans rather than nature, and attempts to give the tourist an understanding of the lifestyles of local people. (Definition isbased on the research Promoting the Culture Sector through Job Creation and Small Enterprise Development in SADC Countries:
The Ethno-tourism Industry by Steven Bolnick, © International Labour Organization 2003
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22 According to the research of the public organization Kiyiz DuinoCase Study. Kyrgyzstan. Final Report, January 15, 2021

Aidai Asangulova, the leader of “Kiyiz Duino” and a bearer of traditional knowledge on the Felt Festival

Many masters of yurt-making have lived here for generations: their courtyards have become openair workshops where they work with wood by using ancient techniques and tools. Traditionally,
they were assisted by their children, relatives or neighbours. There is a gender division of labourin the process of manufacturing the yurt: men are mainly engaged in the preparation of woodenparts of the frame, while women are making felt, braids, and decorative elements for the yurt.

Assembling the yurt by the residents of Kyzyl-Tuu village at the summer pasture
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Kyzyl-Tuu village today became one of the most active centres of revival and popularization of theculture of the traditional yurt. An important role in the process is played by public organization
Kiyiz Duino (Felt Universe) – a grassroots and community-based organization registered in 2010.
For 10 years of work, the organization led by a young woman Aidai Asangulova, has carried out alarge-scale research on revival traditional knowledge and skills by studying the Kyrgyz yurt and its
decorations, traditional clothing and household utensils, women’s and men’s headwear. Reports
and findings of their field researches have been presented among local communities, events andmeetings with experts on traditional culture.
To attract public attention to traditions and rituals of nomadic life, the Kiyiz Duino Festivals were
held in Kyzyl-Tuu village. Local residents of the village were actively involved in these festivals.
Participants coming to the festivals were entirely immersed in the conditions of nomadic life,
participated in various educational programs and masterclasses on traditional crafts. After the
first Kiyiz Duino Festivals (2012-2013), ethno-tourism began to develop more actively in this area.
Kiyiz Duino foundation mobilized the local community to participate in the activities of the World
Nomad Games in 2016 and 2018.
Summary of the field research (December 2020)
The field research demonstrated that the number of masters in yurt-making in the village increased
considerably – from 126 in 2013 to 167 in 2019. During the field research, 57 families of yurtmakers were visited and interviewed.
The field research revealed that the old ways of making yurts still exist. This is especially encouraging
because in the 90-s the old traditions have vanished from everyday life on a massive scale. Many
young people learn from masters through training and masterclasses, at the same time, there areyoung men who stay with a master for a year to learn everything in practice. At the end of theapprenticeship, a master customarily gives his blessing and hands over to his apprentice one pieceof each part of a wooden frame as a pattern that never should be lost or changed, otherwise, itwill destroy the ancestors’ method, the yurt-making traditions, and its beauty. This was a way inwhich authentic knowledge has been preserved through generations.

Round frames for the yurts’ roof – “tündük” in the workshop of a yurt-maker in Kyzyl-Tuu village
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There are many young supporters of the work of Kiyiz Duino foundation, like Tolosun Bektemirov,
born in 1992, who trained the team of young men that participated in the competition for highspeed yurt assembly on the World Nomad Games and became the best. He coached the women’s
best team too.
Before, the yurt-makers had to go to different regions to sell their yurts to shepherds on the livestock
markets. Today many buyers began coming to the village to order the yurts. Many villagers said
that there was no understanding of tourism before. Kiyiz Duino Festivals gave a strong impetus
for the development of the yurt business and as an addition, people started learning hospitality
skills to host tourists.
People started buying more yurts for various celebrations and weddings after the World Nomad
Games (2016, 2018). Yurts began to be rented, for example, for events at the regional and national
levels. Villagers have been invited to bring and demonstrate their yurts on these events.
With the increase in sales in the last 10 years, life in the village community has been improved.
People realized that yurt-making can be a profitable business. Today, some people make yurts withthe help of family members, others use specialization by dividing the work between other masters
in the village. This strengthens the ties of the community. Working together with members of thefamily, with neighbours, through cooperation helps to consolidate the community of Kyzyl-Tuu
village, making it solid and sustainable.
Yurt sales dynamics in KyzylTuu (one master per one year)
1990-1995 – at least 3 yurts.
2000-2005 – on average 5 yurts.
2010-2015 – 7-8 yurts.
2015-2019 – 10-15 yurts,
sometimes up to 20.
2020 – Sales dropped by 50%.
A difficult year for the village
economics, many manufactured
yurts were not sold.
A wooden trellis of the Kyrgyz yurt – “kerege”

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Case Study 2. MASTERS OF PATTERNED WEAVING
Sary Mogol village, Chon Alai district, Osh province

A craftswoman among her work, Sary Mogol village

Sary Mogol village is located in the highest zone of Chon-Alai valley at an altitude of 3,100 meters
above sea level, at the foot of one of the highest peaks in Central Asia – the Lenin Peak (7,134m). At the altitude of 3,600 m above sea level, there is a high-mountainous lake called Tulpar-Köl(tulpar – a winged horse, köl – a lake). According to the legend, a herd of tulpars went to the lakeand mystically disappeared from sight. There is a rocky place called Kotur-tash, where, according
to the legend, the footprints of all animals existing on Earth were captured. There are also sacredplaces (mazars), although the complete information about them has been already forgotten. A
panoramic view of the majestic mountains, Lenin Peak, natural landscapes of alpine meadows,
pastures, high-mountain rivers, and lakes of the Alay Valley were marked by National Geographic
as one of the most beautiful places in Kyrgyzstan. It attracts climbers and tourists from all different
parts of the world. In the Middle Ages, the Great Silk Road ran through the Alai Valley, connecting
East Asia with the Mediterranean.
The village is 219 km away from the regional centre of Osh city. To get to the capital of Kyrgyzstan,
Bishkek, the time on the road through high-mountain passes, gorges, and valleys takes more than
16 hours.
According to the official data of the local administration, there are 1,035 households in the village.
The population is 5,257 people, of which 2,644 are women and 2,613 are men. Children aged 0 to
16 – 2,131 people, the working-age population from 17 to 60 years – 2,879 and over 60 years –247 people. The village is located on an area of 61.7 sq. km 23. 50% of able-bodied people are inlabour migration; 30% of the population receives various types of state allowances. High levels ofpoverty and labour migration are the main social problems in the village.
23 From the report of the local authority of Sary Mogol Village.
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The magic of patterned weaving, Sary Mogol village

In the harsh climatic conditions, the locals grow only a few agricultural crops such as potatoes,
frost-resistant varieties of barley and wheat for their own consumption. The main economic activity
is animal husbandry. About 80% of households keep livestock, income from the sale of livestock
consists of almost 60%. The infrastructure in the region is undeveloped. Many local women andchildren collect coal at a coal mine developed by a Chinese company. Every day, they collect 1520 bags of coal to sell it at the local market and earn some money. The cost of one bag of coal isless than 3 US Dollars.
In the past, this high-mountainous village was the most inaccessible one. The remoteness ofthe village influenced the preservation of the unique crafts to this day; traditional knowledge
and practices are used in everyday life. In particular, women master the technique of traditional
weaving, which is today on the verge of extinction in many regions of the country.
Summary of the field research (December 2020)

The pattern of the woven braid

Women make up about 40% of the village population, and about 20% of them are engaged in
traditional handicrafts. Almost in every family, women have a traditional loom for weaving (örmök),
they know ancient techniques of patterned weaving and various types of weaving braids neededin assembling yurts. Talented craftswomen create highly artistic samples using old techniquespreserved and passed down from generation to generation.
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Women of the village are actively supported by the public foundation Institute Sustainable
Development Strategy (ISDS) from Bishkek and Helvetas Swiss Intercooperation Kyrgyzstan.
Thanks to their support, women began to form cooperatives and groups to manufacture handicraft
products for sale. They participate in training and seminars and strengthen their potential.
Craftsmanship began to expand beyond households, and products now are produced for sale on
various artisan festivals, including Oimo and Lenin Peak Festivals. Women had an opportunity topresent their products at the World Nomad Games.
The interviews revealed that many artisans were taught by their grandmothers and now theyteach their children at home continuing this tradition. To be sold on the market, their products
need to have higher quality and correspond to modern demands. That is why they learn how to
improve the design and quality of their products on training, masterclasses, round tables, andexchange tours organized for them by Helvetas and ISDS. The manufactured products started
to be produced under the brand Bai Alai, which increased sales. Today about 150 local artisans,mainly women from six villages of the Chon Alai district including Sary Mogol are actively involvedin promoting traditional craftsmanship.

Women of Sary Mogol village during a masterclass

In the last 2 years, locally registered public organization “Uz-Datkalar”, with the support of the
ISDS, opened the community Ethnographic Museum with the aim to increase the interest ofyounger generations in local history and culture. The building and many items belong to a local
family; many other things were donated to the museum by the residents. ISDS and local leadersbelieve that the opening of the Ethnographical Museum will contribute to the preservation of
local history and can change the attitude of people to the ‘old’ things and craftsmanship. The
museum will have an educational program for children with masterclasses on traditional weaving,
topics on local history and culture.
In the focus group discussions, women talked about various obstacles in safeguarding local ICH.
Among them are a poor quality of local wool and lack of merino wool in their district; lack ofopportunities for experience exchange and learning. They also noted that younger generations
will engage in traditional craft more actively if they see the economic benefits.
Despite of many difficulties, local leaders and women dream of opening a common workshop in
the village so that they can come and work together, improve their wellbeing, and be able to give
better education to their children.
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Case Study 3. FELT CARPET MAKERS
Acha-Kaiyndy village, At-Bashy District, Naryn Province

Felt carpets - shyrdaks

Acha-Kaiyndy village is part of At-Bashy district (“head of a horse” from Kyrgyz) of the mountainous
Naryn province. It is located on the banks of At-Bashy river flowing into Naryn river at an altitudeof 2,100 m above sea level. The name of the village (“Between two streams” from Kyrgyz) is
associated with its geographical location in the gorge where the descending water divides into
two and flows into the At-Bashy river. The village is located 4 km from the administrative centre
At-Bashy village. The climate is sharply continental, in the middle of summer the temperature rises
only by 14-18 degrees, and in January it can drop to 30-35 degrees below zero; winter lasts up
to 6 months. The Great Silk Road ran through this valley, as evidenced by archaeological finds –ceramic vessels, glassware, and bronze items. A caravanserai Tash-Rabat that served as a shelter
for trade caravans and travellers until the 18th century24 is one of the famous historical sites of
the country. The medieval fortress Koshoy-Korgon25 and the sacred site Chech-Dobo Mazar are
also located in this area. The alpine lake Chatyr-kol is located in this area at an altitude of 3,520 m
above sea level. The lake, beautiful gorges and alpine meadows, and historical sites of At-Bashy
attract many tourists.
According to the official data, the population of the village is 5,106 people and 759 households26.
The poverty rate reaches 40%. The share of the population in labour migration is relatively small
and the population growth is observed annually.
Local people are engaged in animal husbandry; the proximity of the big livestock market allows
raising livestock for sale. Almost every family grows potatoes. The village is sometimes called the24 Мирза Мухаммад Хайдар. Та’рих-и-Рашиди. – Ташкент, 1996. – с. 86 (Mirza Mukhammad Khaidar. Ta’rikh-i-Rashidi.
Tashkent, 1996)
25 Табалдыев К.Ш. Древние памятники Тянь-Шаня. – Б.: V.R.S/ Company. – 2011., стр. 148 (Tabaldiev K.Sh. Ancientmonuments of the Tien Shan. – Bishkek), p.148
26 From local administration reports.
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«homeland of potatoes» since some potato fields occupy several hectares and farmers harvest
up to 60 tons of potatoes annually. In recent years, the number of people involved in beekeeping
and selling honey has increased. The stability of the population’s income depends on prices forthe livestock and potatoes and climate change.
Naryn province is famous for its felt carpets – shyrdaks and ala-kiyizes – indispensable attributesin every yurt. This craft is especially well developed and cherished in At-Bashy district where local
artisans are recognized as the best. The community of the village Acha-Kaiyndy is also actively
engaged in making felt carpets.
Summary of the field research (December 2020)
Registering shyrdak and ala-kiyiz in UNESCO list of heritage in need of urgent protection in2012, required 5 years of hard work on reviving knowledge and skills. Long-term projects led
by the Central Asian Crafts Support Association’s Resource Centre in Kyrgyzstan (CACSARC-kg)
allowed many local artisans to receive small equipment including carding machine, to participate
in training, to learn making other things out of felt. The quality issue became important including
ornaments and their meaning, quality of felting, and dyeing. The local artisans became able toparticipate in international exhibitions and international Oimo Festivals.
CACSARC-kg helped to establish Shyrdak Producers Association in Naryn province. The role of
CACSARC-kg in the development of the art of making felt carpets is invaluable. It organizedmany masterclasses, seminars, and symposia on shyrdak making and influenced establishing craft
cooperatives.
Several cooperatives of local artisans were registered in At-Bashy. Organizing regular Shyrdak
Festivals in At-Bashy that grew from regional to national level had a strong mobilizing effecton local artisans. GIZ program “Promoting Sustainable Economic Development” (2009) also
supported organization of the Shyrdak Festivals as a tool for local economic development throughstimulating and promoting handicraft products.

Shyrdak Festival in At Bashy district

The shyrdak-makers from Acha-Kaiyndy
village inside the Kyrgyz yurt
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The field research conducted in Acha-Kaiyndy village allowed understanding the whole picture of
the community’s engagement is making felt carpets. Felt carpets are made in every second housein the village. Felt making is seen as a family business with all members involved in it. Making felt
carpets is considered a woman’s work. But in fact, it is not a purely female affair. Men’s input isalso considerable: they raise cattle, shear the wool, sort, boil water over a fire. When the felt is laidout on the mat, men help women to tie a heavy warped mat evenly. During pressing (throughkicking), male strength and help are also needed to make felt more firmly felted. If necessary, men
can also cut and sew the parts which are seen as normal in this village.
Famous masters used to live in Acha-Kaiyndy and their apprentices today try to elevate the craftof making shyrdaks to the next level. Today local shyrdaks can be seen in American and British
museums.
More tourists began coming to this area to see, learn, and buy products. The researchers started
studying the artisans and ICH. Gradually the villagers recognised that their work is valuable. They
also realized that this can bring profit to their families.
By participating in the festivals, organizing cooperatives and women’s groups, the community of
Acha-Kaiyndy contribute to reviving traditional craftsmanship, developing handicraft production,and help hundreds of women to be employed, earn income, and realize themselves. Today local
artisans receive orders from abroad. With the money they earn, women buy household appliancessuch as washing machines, electric stoves, and refrigerators to ease their domestic work.

The round shyrdak and felt-making family of Acha-Kaiyndy village

In 2000, a public association «Cheber Koldor» (“Artisan hands” from Kyrgyz) was established tosupport families in need and unite masters of making felt carpets. With more support to thehandicraft sector, artisans in the local villages began feeling respect to their work and status,
albeit small, but they got earnings and permanent employment. The public association is regularly
speaking on radio, national and local TV channels. The works of artisans from Acha-Kayindy canbe seen in a 10-minute video for UNESCO 27.
27 https://youtu.be/pm7kob-rMHs
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Case Study 4. Eagle people
Bokonbaev village, Ton district, Issyk-Kul province

Eagle people from Bokonbaev village

The Bokonbaev village is located on the southern shore of the high-mountainous Issyk-Kul Lake.
There are many hot springs, canyons and beautiful alpine meadows. Surrounded by rocky foothillsof Terskey Ala-Too mountain range, the village is located in the valley at an altitude of 1800 m
above sea level. The distance from the province’s administrative centre – Karakol town – is 160 km
and from the capital city Bishkek – 260 km. The total population of the village is 10,450 people.
Animal husbandry and cultivation of fruits (apricots, apples, pears, etc.) are the basis of the local
economy and the livelihood of people.
The local community of Bokonbaev village cherishes the whole complex of traditions and culture
associated with traditional hunting with hunting birds and dogs. Birds of prey (golden eagles
and falcons), horses, and hunting dogs were very important for the hunters’ families. Traditional
hunting played a vital role in the livelihoods of nomads and was accompanied by rituals and rules
and regulating norms.
Today the Federation of traditional hunting Salbuurun initiated by the its leader Almaz Akunov from
Bokonbaev village, works hard on reviving forgotten traditions and sports, generates income for
local community and addresses sustainable development and gender issues. Hereditary falconers
in the third and fourth generation, inspired other people in the village.
Summary of the field research (December 2020)
More than 30 families (about 50-60 people) in the village keep and raise hunting birds and local
hunting dog breed – taigan. Among them, 85% are young people aged 12-13 to 20-26 years oldand 15% from 40 to 60 years old.
Some hereditary falconers are in the third and fourth generations, they raise, educate, and huntwith golden eagles for many years. The Salbuurun Federation started to organize festivals thattoday became a recognizable brand of the Bokonbaev village and the Issyk-Kul province. At the
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Case Study. Kyrgyzstan. Final Report, January 15, 2021

festivals, participants can see demonstrations of traditional hunting skills and products of local
artisans, music performances. The festivals are organized by active participation of local people,
attract urban visitors, local and foreign tourists.

The Salbuurun Festival in Bokonbaev village

A teacher in falconry with his eagle, Bokonbaev village

The place of gathering for the members of the Federation is a yurt camping “Salbuurun Ordo”.
It includes 5 yurts that serve as a craft centre, a community museum, and an informal education
centre for children and youth. The informal education centre called Salbuurunchi Mektebi(School of the Falconry) inspires young people and provide an opportunity to deeply appreciateknowledge about their land and cultural values, to understand the worldview and philosophyof their ancestors. Young people participate in seminars, masterclasses, are trained in archeryand hunting, listen to oral stories, legends, and take part in traditional ceremonies. The teaching
includes topics on protecting the environment and contributes to increasing the resilience of thelocal community.

The leader of Salbuurun Federation, Almaz Akunov with the oldest and the youngest members
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The lesson in the School of Young Salbuurunchu (Falconry School) in Bokonbaev village

Today there are about 200 people from all parts of the country registered as members of the
Salbuurun Federation. 30 of them are women and girls. The efforts of its leader Almaz Akunov
resulted in the inclusion of aching and horseback arching, demonstrations and performanceof falcons, eagles and dogs in the program of the World Nomad Games. The Federation has
partnership relations with other organizations and educational institutions. For example, theKyrgyz-Turk Manas University opened a traditional archery club for their students and has plans
to establish an open-air cage for keeping hunting birds and taigan dogs.
The Salbuurun Federation has a clear vision and strategy for the revival of cultural and spiritualvalues of nomads of the Northern and Inner Tien Shan regions. The Federation is supported by
the government agencies, including the Ministry of Culture, Information and Tourism.

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IV. WHAT ACTIVITIES (FIELD RESEARCH/DESKSURVEY) WERE CONDUCTED
October 7 – November 30

Phase I of the research included desk survey, online meetings of the research team members, andconsultations with experts, leaders of local organizations and communities. The detailed workplan, the relevant literature for the desk research were discussed at the meetings. The review ofthe literature included:••••

Academic publications (books, monographs, articles) on the ICH element – a Kyrgyz/Kazakh
yurt, cultural elements, knowledge, and skills related to the yurt;
Available documents, reports, statistical data of state agencies, local administrations related
to preservation of ICH and achieving SDGs in Kyrgyz Republic and residents of the targetedcommunities;
Available reports and materials of international organizations supporting the handicraft sector
and local community development in Kyrgyz Republic;
Articles, interviews published in local mass-media about initiatives and activities in preserving
ICH, digital stories on the websites of local organizations working at the community level.

Discussions and consultations allowed identifying the main concepts and the focus of the reportbased on the case study. The leaders of the local organizations took part in the discussions
including Kiyiz Duino Public Foundation, Institute Sustainable Development Strategy (ISDS), andSalbuurun Federation.
The first draft of the report was completed and submitted by the end of November 2020.
December 1-20, 2020

During the Phase II, the field research was arranged in 4 selected communities. Due to thepandemic and difficulties in travelling to mountainous communities in winter time, the fieldresearch was conducted with the help of local assistants and project coordinators working withthese communities. They conducted interviews with artisans and local leaders, organized focus
group discussions, updated statistical data, and collected photographs for the report.
December 15-20, 2020Three online and one offline meeting were organized with the group of experts in ICH including
directors of the State Historical Museum and the Museum of Nomadic Civilization, directors of
public foundations Institute Sustainable Development Strategy and Centre of Museum Initiatives,a researcher and expert on cultural heritage of the University in Central Asia in Kyrgyzstan.
December 20 – January 15, 2021

The research team worked on completing the final report on the case-study and the presentation
for the Symposium and organized regular online meetings. This included work on translating thetext, selecting photographs, and designing the reporting document.

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V. THE OUTCOMES
The research revealed that ICH is a force and energy for the sustainable development ofcommunities and a resource to address their challenges and find appropriate solutions. Culture
holds answers for many challenges local communities face today. Awareness of the connection
between culture and development underlines the critical importance of intangible cultural
heritage – the living cultural practices, expressions, and knowledge systems that are meaningfulfor communities. Communities still keep traditional ways of transmitting their knowledge and life
skills to the next generations. These knowledge and skills contain valuable traditional ecologicalknowledge with mechanisms of adaptation and preserving the balanced and sustainable livingwith the surrounding world.
SDG 4 (Quality education28) includes target 4.7 that focuses on acquiring the knowledge and skills
needed to promote sustainable development and appreciate cultural diversity. The programme on
education for sustainable development (ESD) in Kyrgyzstan is often limited mainly by environmental
approach and work with public schools; less attention is paid to the potential of culture to contributeto sustainable development. At the same time, Integrating ICH in ESD by promoting appreciation
and respect for traditional culture and knowledge will contribute to strengthening the resilienceof local communities and reducing their exposure to shocks and disasters caused by economic,
social, and environmental factors. ESD needs to utilize a holistic approach by incorporating spiritual,cultural and environmental dimensions. Alongside formal teaching and learning methodologies,
traditional methods of transmitting ancestral culture, traditional ecological knowledge and values
should take their place in formal and informal education in Kyrgyzstan. ESD in Kyrgyzstan needs
to incorporate holistic approach, including spiritual, cultural, and environmental components as
intrinsic and core values of Kyrgyz traditional culture.
According to the survey conducted by UNESCO Almaty Cluster in 2019, only 24 Technical andVocational Education and Training Institutions (TVETs) of Kyrgyzstan out of 104 have programs
related to ICH29. Despite a high potential of ICH-related specialties, educational and training
programs and courses, the following key challenges remain unaddressed in the country. The
survey demonstrated a lack of clear understanding of ICH and the 2003 Convention30 by theteachers; a lack of professional teachers in various disciplines related to ICH able to transmit thesystem of values alongside practical skills and experience; lack of financial and technical support.
Another pilot survey conducted by UNESCO Almaty Office in 2019 among UNESCO Associated
Schools and other public schools in Central Asian countries including Kyrgyzstan31, revealed that:•••

School administrations have some understanding of the Kyrgyz elements in the UNESCO
Intangible Heritage List, but most of the respondents confuse meanings for tangible andintangible heritage;
Promoting ICH is often limited to the organization of fairs and concerts. The study is in manycases not systemic and spontaneous; 59% of the surveyed schools do not invite artisans andICH specialists;
81% indicated that they need additional resources to study ICH and prefer materials
supplementing school programmes, participation in training, and online materials.

28 https://www.globalgoals.org/4-quality-education

29 http://en.unesco.kz/results-of-the-survey-on-technical-and-vocational-education-and-training-institutions-for
30 Convention for the Safeguarding of the Intangible Cultural Heritage

31 Presented on the Sub-Regional Meeting safeguarding ICH through formal and non-formal education in Central Asia. 18-19
June, 2019
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The recommendations made by this pilot survey included strengthening the work with the youth;arranging more workshops and trainings for school administrations and teachers on the work of
UNESCO in ICH field; strengthening the popularization of ICH elements; Strengthening the workwith Associated schools and publishing more materials for teachers including online information.
As we can see, the quality education for all must not alienate young generations from the rich ICH
resources connecting them to their cultural identity. Quality education must therefore recognize
the wealth provided by ICH and harness its educational potential by integrating it as fully as
possible as the content of educational programs in all relevant disciplines and at the same timeto harness the potential of traditional modes and methods of transmitting ICH within education
systems.
Within SDG 11 (Sustainable Cities and Communities), Target 11.4 aims to “strengthen efforts toprotect and safeguard the world’s cultural and natural heritage”. Strengthening and sustainable
development of local communities is connected with one of the main social problems in
Kyrgyzstan – poverty in rural areas. The development of the local economy should be balancedwith spiritual, cultural, and environmental components that include traditional ecologicalknowledge. Safeguarding cultural and natural heritage has the potential to raise awareness of
local communities on reviving their spiritual and cultural roots, and protect their biodiversity. It canstimulate and support local initiatives to improve the wellbeing of local communities, consolidate
visionaries and leaders, including youth and women.
In 2019, Kyrgyzstan was ranked 87th in the UNDP Global Gender Inequality Index, demonstratingthat more efficient actions are needed to address social and structural factors leading to genderinequality. The 2019 Progress Report on Sustainable Development Goals in the Kyrgyz Republicemphasizes that the country needs “targeted concrete actions” to achieve improvements, including
SDG 5 (Gender Equality).
The findings of the research revealed vivid similarities among the targeted communities.
1) In all targeted communities, the local economy is connected with animal husbandry. The cattlegraze on the mountainous pastures, provide local people with dairy products, meat, and wool.
High mountainous areas, the remoteness of the communities contributed to the preservationof the unique cultural heritage. People keep close connections with their lands and sacredsites, traditions, and traditional ecological knowledge connected to spiritual beliefs 32arepart of people’s everyday life. Vibrant closeness to nature, connections with their land, water,
domestic animals, valuing natural materials and ecological design make the work of local
artisans friendly to the environment and sustainable.
2) The communities carefully preserve their traditional culture, many people adhere to it in their
daily lives, proving that this culture is still alive, it is a living culture. All targeted communities
have retained the unique elements of ICH and make efforts to revitalize their traditional artsand crafts.
3) Masters of craftsmanship are respected in these communities, have apprentices interested inlearning, teachers/masters are eager to share their knowledge and skills and at the same timethey are learning on improving the quality of their products to meet the requirements of themarket.
4) Non-formal, culturally acceptable educational models exist in the communities, place-based
and hands-on approaches are used, and the learning process stimulates creativity and interestof participants, many of whom are young people. Local leaders recognize the importance of
attracting the youth to educational activities and transmitting traditional knowledge on ICH.
32 Bеrkеs, F. Saсrеd есоlоgу / F.Bеrkеs. – Nеw Уоrk: Third еditiоn publishеd bу Rоutlеdgе 711 Third Avеnuе, 2012
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Different models have been developed and tested such as the “School of Young Hunters” inBokonbaev village, allowing learning directly from masters and practicing in traditional sportson the training site.
5) Development of tourism became the impetus for the development of craftsmanship in thecommunities. This type of tourism includes elements of ethno-tourism, cultural tourism, andcommunity-based tourism. In all targeted communities, this process encourages locals tolearn hospitality, to promote and sell their handicraft products. This strengthens the selfreliance and resilience of communities able to find solutions to changing situation. It can besaid that traditional knowledge helps local communities to survive in the rapidly changing
time, and ICH becomes a source of cultural resilience, inspiration, consolidation, and collective
responsibility.
6) In all targeted communities, local festivals were initiated and were held annually with theparticipation of masters and bearers of traditional knowledge: The Felt Festival in KyzylTuu, the Salbuurun Festivals in Bokonbaev, the Shyrdak Festivals in Acha-Kayindy, the Lenin
Peak Festivals in Sary Mogol, etc. Experienced masters participate in the Oimo International
festivals. The World Nomad Games allowed many local artisans to present their products
and demonstrate their skills. Such festivals help to promote handicraft products, stimulate toimprove the quality of their products, empower local artisans, and elevate their status in thecommunities.
7) In all studied communities, the development of women’s leadership is vividly observed.
Groups of women have become more active by registering local public organizations,associations, cooperatives, and uniting women into informal women’s groups. They create
opportunities for themselves to earn money, to be engaged in their own business, to helpsocially disadvantaged women and their families; they increase their self-esteem and status in
the family and community.
Comparing selected communities allowed seeing the differences as well. The community of Sary
Mogol village is located in one of the remotest districts in Kyrgyzstan with a high level of poverty
and fewer economic opportunities. Due to their geographic remoteness, comparison with theother targeted communities demonstrated, that the artisans are more isolated, they have lackaccess to information and have more obstacles to accomplish their plans. That is why they needmore support from international and local organizations to further strengthening their potential.
Compare to this community making its first steps to become “visionary”, Kyzyl-Tuu village is
obviously the champion among all selected communities. Its success became possible thanks to
the vigorous work of Kiyiz Duino public organization. The following data has vividly demonstrated
the leadership of this local NGO in safeguarding ICH and supporting the local community since2010:
NGO in safeguarding ICH and supporting the local community since 2010: more than 900
volunteers took part in the realization of their projects; 50 bearers of ICH continuously collaborate
with Kiyiz Duino; 200 masters were trained on making traditional clothes and embroidery; Awardof Excellence for Handicrafts 2018 – Central Asia was received from the World Crafts Council(WCC); extensive field research included interviews with 254 bearers of traditional knowledge;
2534 elements of Kyrgyz traditional costumes and household items have been documented andpartly restored; 23 types of traditional women’s headwear have been restored; 47 educational
videos were created in three languages, albums and books were published; More than 200,000
people had a chance to learn ICH by watching masterclasses, exhibitions, and demonstrations of
traditional clothes.
The following challenges in preventing ICH education and safeguarding were defined by thecommunity leaders:
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The transfer of traditional knowledge to young people is hindered by the factor of replacing
the concept of traditional culture with radical Islamic values, which sometimes run counter tothe Kyrgyz traditional beliefs, which go back to the pre-Islamic period and worshiping nature.
Lack of government support: safeguarding of ICH at the community level is based predominantly
on the support of public organizations, international projects and the artisans themselves.
Community leaders believe that the adoption of a government program, implementation
mechanisms, and state funding would make safeguarding ICH more effective and expand it to
the national level.

During discussions, our experts and consultants also pointed out a range of interconnectedchallenges: social, environmental, and political. Millions of people had to join labour migration.
Political upheavals in 2005, 2010, and in 2020 had negative consequences in the socio-economic
sphere and exacerbated social tensions, problems of unemployment, organized crime, corruption,and public dissatisfaction. Soil depletion and degradation of pastures impacted the Kyrgyz
farmers’ situation. Weak environmental regulations, destruction made by mining companies, andradioactive sites are threatening the access of local communities to ancestral lands and territories.
Dissemination of radical Islamist ideas has drastically increased, resulting in a growth of sympathy,
especially among the marginalized youth. In the ideological vacuum, calls to unite on the basis ofreligious identity become louder. Globalization has brought a growth in mass and pop-culture,also increasing pressure on the distinct cultural identity in Kyrgyzstan.
During discussions with experts on ICH, the following suggestions, statements, and questions
for further discussions were pointed out:•

If fewer people, especially among the younger generation, understand and appreciate ICH,
then it will cease to be “living culture” and will be kept only in museums or academic books.
Therefore, it is important to educate a generation of connoisseurs of traditional culture,
supporters of the preservation and further development of traditional knowledge and skills.

•

In order to raise awareness of the local authorities, special educational programs with ICH
elements should be developed also for the staff of state and local government and proposedto the Academy of Public Administration under the President of the Kyrgyz Republic, which is
responsible for capacity building of the state and local self-government personnel.

•

Any knowledge and tradition are subject to change over time and under the influence ofinnovations. Where is the line that cannot be crossed? How to preserve this fine line, beyond
which there are authentic knowledge and canons? Is mechanization of manual labour necessaryand how much should machines facilitate the work of artisans?

General outcomes and recommendations
Visionary communities provide inspiring examples of organizing their livelihoods in a way that
preserving ICH generates income for community members and contributes to the alleviation ofpoverty, achieving gender equality, improving education for young generations, and contributeto sustainable development. Establishing local public organizations able to attract financial andother assistance to their communities, opening cooperatives producing authentic and marketableproducts demonstrate their ability to self-organize and become more resilient and sustainable.
They have revived the lost meanings, trying to involve young people, teach them to honour the
heritage of their ancestors and pass on this knowledge to the next generation and maintaincontinuity. The biggest impact of the visionary communities is in integrating ICH in modern
everyday life, keeping ICH as “living culture”.
The ability of self-organization to solve common problems was clearly manifested in the difficult
historical periods in the past. Like the rest of the world, rural communities in Kyrgyzstan are
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currently facing the COVID-19 pandemic and the following restrictions on activities, difficulties
in accessing qualified medical care, and quality education. The sharp decline in tourist flows has
worsened the economic situation of the handicraft sector in rural areas, demonstrating theirvulnerability and the need for further support 33. Survival practices based on traditional knowledge,
experience, wisdom, flexibility, cohesion, and mutual assistance can help many communities toremain resilient. This experience needs further studying and analysing, disseminating, and sharing
in other parts of the country and internationally.
There is a strong need for ICH integration into formal and non-formal education programs by
developing the specific guidelines for integrating ICH elements and ESD principles into teaching
and learning in the educational system of Kyrgyzstan. The innovative programs and teachingmaterials should include collaboration with local communities and ICH bearers.
It is important to understand how common frameworks designed to protect and safeguard cultural
heritage have translated into the local management practice of heritage assets and databases.
It is anticipated that the research has a potential application such as supporting the national
authorities of Kyrgyzstan in finding a suitable conceptual framework and methodology for thedevelopment of SDG culture indicators and databases.
Despite the lack of efforts and resources for ICH safeguarding in Kyrgyzstan, the visionary
communities provide inspiring examples of organizing their livelihoods through safeguarding
ICH and protecting their historical and cultural assets and values.

33 https://ich.unesco.org/en/living-heritage-experience-and-covid-19-pandemic-01124?id=00176
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VI. SUGGESTIONS FOR FUTURE ACTIVITIESThe main role in safeguarding of ICH belongs to local communities and the bearers of traditional
culture, therefore their active participation in safeguarding of ICH is a key factor for the successof projects and initiatives.
During the research, one of the inspiring initiatives in safeguarding of intangible cultural heritageof Kyrgyz people was the opening of community museums: The Felt Museum was opened in thevillage of Kyzyl-Tuu, The Ethnographic Museum in the village of Sary Mogol, and The Museum of
Traditional Hunting in the village of Bokonbaev. Along with this, the museum concepts have beenrevised in small state provincial museums located in the remote districts of At-Bashy and IssykKul.
The ways of organizing exhibitions and expositions, combined with a wide range of craft
activities and the representation of intangible cultural heritage by practitioners and bearers of
traditional culture, sharing their skills, knowledge, and stories, have a great potential in future ICH
safeguarding. These events are becoming a part of the life of the local community, held together
with local residents, guests, and tourists from the city and other regions. In community museums,
photographs, audio / video materials are displayed, masterclasses, screenings, discussions are
held, and live traditional music is played.
The museums are located in a natural environment. They represent intangible cultural heritage in a
traditional yurt (Kyzyl-Tuu, Bokonbaevo) or old houses of local residents (Sary Mogol). Exhibitions
are also held in the open air, presented by the bearers and practitioners of traditional culture.
Visitors can see craftsmen at work, who popularize forgotten skills and technologies. Community
leaders and volunteers of community museums are doing important work by preserving, studying,and popularize the intangible cultural heritage.
We propose a study of the role of community and district museums in safeguarding ICH as a focus
for a possible next step of the project, as these community museums contribute to:
•
•
•
•
•
•
•
•

Preservation, study, exhibition, and popularization of ICH;
Strengthening the cultural identity of local communities;
Cohesion and consolidation of local communities, the revival of their sense of pride and cultural
identity;
Fostering respect for local traditions and heritage;
Formation of centres for learning and understanding the rich cultural and natural diversity of
Kyrgyzstan;
Centres for educational initiatives to transfer traditional knowledge and skills;
Training and education of supporters and experts of ICH;
Stimulating creativity among the younger generations to practice traditional handicraft art.

To support local community museums, it will be also useful to develop educational andmethodological guidebooks and conducting training for teachers/facilitators on ICH and local
authority officials.
Apart from educational programs, local museums can lead the participatory research on ICH,
including mapping the ICH elements preserved and revived by local communities.

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Another possible activity for the future steps of the project can be organizing of an international(Central Asian) anthropological conference with the focus on safeguarding of the nomadic yurt as
ICH element in partnership with the Anthropology Department of American University in Central
Asia (AUCA) and participation of bearers of traditional knowledge.
As an outcome of the conference, the publishing of the collection of academic articles based on
research can become a valuable source of information for students and stimulate further researchon ICH.

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LIST OF LITERATURE
LITERATURE IN ENGLISH
1. Antipina K., Pavia R., Musakeev T. Kyrgyzstan. 2006. – 189 p.
2. Bacon E. Central Asians under Russian Rule: A Study in Culture Change. Cornell University Press. 1966.
3. Bеrkеs, F. Saсrеd есоlоgу / F.Bеrkеs. – Nеw Уоrk: Third еditiоn publishеd bу Rоutlеdgе 711 Third
Avеnuе, 2012. – 363 p.
4. Intangible Cultural Heritage in the Kyrgyz Republic. ICHCAP. 2019
5. Traditiоnal есоlоgiсal knоwlеdgе and natural rеsоurсе managеmеnt. Еditеd bу Сharlеs R. Mеnziеs. –Nеbraska: Univеrsitу оf Nеbraska Prеss, 2006. – 265 p. (p. 5-14).
6. “Shyrdak” – the Kyrgyz felt carpet, Series: Beauty in Harmony with Nature, Bishkek, 2016

LITERATURE IN KYRGYZ:
1. Aбрaмзон, С.М. Кыргыз жaнa Кыргызстaн тaрыхы боюнчa тaндaлмa эмгектер / түз.: Ө. Кaрaев;котор.: С. Мaмбетaлиев, Д. Сулaймaнкулов, С. Мaкенов. – 2-бaс. – Бишкек: Турaр, 2013. – 896 б.
2. Көч ырымдaры. – 2 бaс. – Бишкек: Бaрaк Элде, 2015. – 141 б. – Мaл бaгуучулaргa жaрдaм кaтaрыкыргызaрдын сaлттуу билимдерер сер.
3. Кыргыз элинин уюткулуу сырлaры: Жылкы / түз. М.Б. Aйтмaтов. – Бишкек: Кут Бер, 2013. – 112 б.
4. Кыргыздaр: 14 т. жыйнaк / түз.: К. Жусупов, К. Имaнaлиев. – Бишкек: Бийиктик, 2011. – Т. 4. –648 б.

LITERATURE IN RUSSIANInternational conventions and Kyrgyz legislation:
1. Convention for the Safeguarding of the Intangible Cultural Heritage https://ich.unesco.org/doc/
src/15164-EN.pdf
2. Конвенция о сохрaнении немaтериaльного культурного нaследия: www.un.оrg/ru/dосumеnts/dесl сjnv/соnvеntiоns/сultural hеritagе соnv.shtml.
3. О немaтериaльном культурном нaследии: зaкон Кырг. Респ. от 9 aвг. 2012 г., № 163: сbd.minjust.
gоv.kg /aсt/viеw/ru-ru/203763?сl=ru-ru
4. Национальная стратегия развития Кыргызской Республики на 2018-2040 годы (National Strategy
of Development of the Kyrgyz Republic for 2018-2040) http://www.stat.kg/ru/nsur/
5. Национальная стратегия Кыргызской Республики по достижению гендерного равенства до 2020года (National Strategy of the Kyrgyz Republic on Achieving Gender Equality till 2020) http://cbd.
minjust.gov.kg/act/view/ru-ru/12728

MONOGRAPHS & BOOKS:
1. Aбрaмзон, С.М. Киргизы и их этногенетические и историко-культурные связи / С.М. Aбрaмзон. –Фрунзе: Кыргызстaн, 1990. – 480 с.
2. Бaртольд, В.В. Киргизы. Исторический очерк / В.В. Бaртольд //Бaртольд, В.В. Соч. – М., 1963. – Т.
2, ч. 1: Общие рaботы по истории Средней Aзии. Рaботы по истории Кaвкaзa и Вост. Европы. – С.
473-546. (1020 с.)
3. Бaртольд, В.В. Киргизы. Исторический очерк / В.В. Бaртольд //Бaртольд, В.В. Соч. – М., 1963. – Т.
2, ч. 1: Общие рaботы по истории Средней Aзии. Рaботы по истории Кaвкaзa и Вост. Европы. – С.
473-546. (1020 с.)
4. Кожемякин С.В. Модернизация и глобализация: судьбы традиционных обществ в современном
мире. Бишкек, 2008. – 183 с.
5. Кочкунов, A.С. Этнические трaдиции кыргызского нaродa (социокультурные aспекты и некоторые вопросы этногенезa) / A.С. Кочкунов. – Бишкек: Кыргыз Жер, 2013. – 320 с.
Page 36 of 40

				

Case Study. Kyrgyzstan. Final Report, January 15, 2021

6. Муканов М.С. Казахская юрта. - Алма-Ата, 1981. - 205 с.
7. Святые местa северa Кыргызстaнa: Природa, Человек, Духовность /Культурно-исслед. центр
«Aйгине». – Бишкек: Maxprint, 2015. – 234 с.
8. Тaбaлдыев, К. Ш. Древние пaмятники Тянь-Шaня / К.Ш. Тaбaлдыев. – Бишкек: V.R.S. Соmpanу,Ун-т Центр. Aзии, 2011. – 320 с.
9. Турдaлиевa, Ч.Дж. Кыргызы в трудaх Чокaнa Вaлихaновa / Ч.Дж. Турдaлиевa. – Бишкек: УлууТоолор, 2015. – 208 с.
10. Урманбетова Ж.К., Абдрасулов С.М. Истоки и тенденции развития кыргызской культуры. Бишкек, 2009. – 212 с.
11. Шаханова Н.Ж. Мир традиционной культуры казахов. – Алматы, 1998 – 184 с.
12. Уникaльные территории в культурном и природном нaследии регионов: сб. нaуч. тр. – М.: ИздРНИИ культурного и природного нaследия, 1994. – 216 с.
13. Юртa - дом кочевникa: сбор, aнaлиз и изл. К. Aкмaтовa. Нaуч. советник К.A. Aлaгушев. – Бишек:Бaрaкелде, 2015. – 98 с. – Сер.: Трaдиционные знaния в помощь животноводaм.

ARTICLES & PUBLICATIONS:
1. Kyrgyz Republic case study in promotion of SDG 12 – Responsible Consumption and Production.
Sadykova Chinara, RCE Kyrgyzstan. https://www.slideshare.net/HannaatUNU/kyrgyz-republic-casestudy-in-promotion-of-sdg-12-responsible-consumption-and-production-mr-sadykova-chinara-rcekyrgyzstan
2. Kyrgyzstan: Economic Growth, Employment and Poverty Reduction. Geneva, International Labour
Office, 2008. https://www.ilo.org/wcmsp5/groups/public/---europe/---ro-geneva/---sro-moscow/
documents/publication/wcms_306632.pdf
3. Voluntary National Review on the Implementation of the Sustainable Development Goals in the
Kyrgyz Republic. https://sustainabledevelopment.un.org/content/documents/26459VNR_2020_
Kyrgyzstan_Report_English.pdf
4. Kyrgyzstan ranks on 122nd place out of 189 on human development: https://kyrgyzstan.un.org/
en/35935-kyrgyzstan-ranks-122nd-place-out-189-human-development
5. Kyrgyz republic country gender assessment December 2019: https://www.adb.org/sites/default/files/
institutional-document/546966/kyrgyz-republic-country-gender-assessment-2019.pdf
6. UNDP Gender Equality Strategy for Kyrgyzstan, 2018-2022: https://www.undp.org/content/dam/kyrgyzstan/Publications/gender/UNDP%20in%20Kygyzstan%20Gender%20Equlaity%20Strategy%20
2018-2022_6May2019_RU.pdf
7. About gender quota for women in voting process: http://platforma.kg/our-priorities/election/
gendernaya-kvota-dlya-zhenshhin-i-edinye-dni-golosovaniya/
8. Why 30% of gender quota is important for village councils in Kyrgyzstan? https://kyrgyzstan.un.org/
ru/13990-pochemu-30-gendernaya-kvota-v-ayylnykh-keneshakh-kyrgyzstana-tak-vazhna
9. Religious Radicalization of Women in Kyrgyzstan: https://cabar.asia/en/religious-radicalization-ofwomen-in-kyrgyzstan
10. Kyrgyz craftswomen find ways to support their creative sector during the coronavirus lockdown:
https://ich.unesco.org/en/living-heritage-experience-and-covid-19-pandemic-01124?id=00176
11. Global partnership in education: Kyrgyzstan: https://www.globalpartnership.org/where-we-work/
kyrgyz-republic
12. 8 wild and beautiful places in Kyrgyzstan:
https://www.nationalgeographic.com/travel/destinations/asia/kyrgyzstan/wild-and-beautiful-placesadventure-hiking-trekking/
13. About unique dwelling of Kyrgyz. Infographics: https://ru.sputnik.kg/infographics/20180625/1039858707/kyrgyzstan-yurta-infografika-zhilishche.htm
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Case Study. Kyrgyzstan. Final Report, January 15, 2021

WEB SITES, SOCIAL MEDIA
1. Rural Development Fund: http://rdf.in.kg/en/
2. Central Asian Crafts Support Association Resource Centre KG (CACSA)CACSA RC-kg https://www.
cacsarc.org/about/
3. National Association of Pasture Users: http://www.jayit.kg/
4. Traditional knowledge and skills in making Kyrgyz and Kazakh yurts: https://www.youtube.com/
watch?v=5fvjX90MfSw
5. Masterclasses by “Kiyiz Duino” (video-lessons): https://www.youtube.com/watch?v=i7aucpqezg4&list=PLUbD7WquYlo15BV_vKctgwL24bFrNzIr7
6. Kiyiz Duino Festival: https://www.youtube.com/watch?v=AoQs-mLyPek
7. Video Flash mob «KYRGYZ-2017»: https://www.youtube.com/watch?v=N5MiWwgsfQs
8. 2018-World Nomad Games video: https://www.youtube.com/watch?v=Md1ff2KR6A0

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Case Study. Kyrgyzstan. Final Report, January 15, 2021

PHOTO CREDITS
Cover: Roof of the Kyrgyz yurt. ©Kiyiz Duino
p.9: The Kyrgyz yurt. © Kiyiz Duino
p.10: The wooden frame of the yurt. © Kiyiz Duino
p.12: Patterned weaving of masters of Chon Alay. ©ISDS
p.12: A Kyrgyz felt carpet – shyrdak. © Kiyiz Duino
p.13: Interior of the Kyrgyz yurt. © Kiyiz Duino
p.14: Traditional household items inside the Kyrgyz yurt. © Kiyiz Duino
p.15: Women of Kyzyl-Tuu village during the Felt Festival (Kiyiz Duino). © Kiyiz Duino
p.16: Aidai Asangulova, the leader of “Kiyiz Duino” and a bearer of traditional knowledge on the Felt
Festival ©“Kiyiz Duino”
p.16: Assembling the yurt by the residents of Kyzyl-Tuu village at the summer pasture. ©“Kiyiz Duino”
p.17: Round frames for the yurts’ roof in the workshop of a yurt-maker in Kyzyl-Tuu village – “tündük”©“Kiyiz Duino”
p.18: A wooden trellis of the Kyrgyz yurt – “kerege”. ©“Kiyiz Duino”
p.19: A craftswoman among her work, Sary Mogol village. © ISDS
p.20: The magic of patterned weaving, Sary Mogol village. © ISDS
p.20: The pattern of the woven braid. © ISDS
p.21: Women of Sary Mogol village during a masterclass. © ISDS
p.22 : Felt carpets – shyrdaks. © “Kiyiz Duino”
p.23: Shyrdak Festival in At Bashy district. © J.Asanakunova
p.23: The shyrdak-makers from Acha-Kaiyndy village inside the Kyrgyz yurt. © J.Keldibekova
p.24: The round shyrdak and felt-making family of Acha-Kaiyndy village. © J.Keldibekova
p.25: Eagle people from Bokonbaev village. © Salbuurun Federation
p.26: The Salbuurun Festival in Bokonbaev village. © Salbuurun Federation
p.26: A teacher in falconry with his eagle, Bokonbaev village. © Salbuurun Federation
p.26: The leader of Salbuurun Federation, Almaz Akunov with the oldest and the youngest members. ©
J.Doolbekova
p.27: The lesson in the School of Young Salbuurunchu (Falconry School) in Bokonbaev village. © J.Doolbekova

Page 39 of 40

APPENDIX 2.
DOCUMENTS OF THE INTERNATIONALSYMPOSIUM
2-1. General Information
2-2. Programme schedule
2-3. List of ParticipantsInternational Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI)International Symposium for “Research on ICH Contribution to SDGs:
Education and Community Development” (Online)
Date: 28-29 January 2021 11:00 – 18:00 (Japan Time)

General Information
1. Background of the project
The Sustainable Development Goals (SDGs), adopted in the 70th General Assemblyof the United Nations on 25 September 2015, have gradually infiltrated in countries
around the world. Since the SDGs are the common goals shared by the international
community to realise the sustainable world, the countries have sought ways to achieve
the goals. UNESCO emphasizes potential contributions of culture, especially intangible
cultural heritage (ICH) in SDG 2 (Zero Hunger), 4 (Quality education), 5 (Gender Equality),
11 (Sustainable Cities and Communities) and 17 (Partnerships for the Goals), and put
great priority on the safeguarding of ICH in formal and non-formal education at the 12th
session of the Intergovernmental Committee in 2017. With these situations, Intangible
Cultural Heritage in the Asia-Pacific Region (IRCI) conducted the 2-year project that
testifies ICH contribution to SDG 4, mainly the target 4.7 1, starting from 2018.
The project was successfully completed in cooperation with the counterparts in thePhilippines for non-formal education and in Viet Nam for formal education by developing
the guidelines that unique ICH elements are incorporated into educational materials andusing the materials in actual teaching and learning settings in both counties.
Through the 2-year project 2 , IRCI found out that ICH contributes to SDG 4. The
educational materials using ICH could help learners understand the ICH itself and acquire
its knowledge and skills. We further witnessed that affection towards learners’community and pride as members of their community were cultivated in the course of
the project. In formal education, ICH helped students learn not only academic subjects
but also non-cognitive skills. It is worth noted that the attempt using ICH into formal andnon-formal education could affect not only learners but also educators including culturalbearers and government officials. The project clearly proved to achieve the target 4.7
and that ICH contributes SDG 4.
As UNESCO suggests that ICH’s potential contribution to other SDGs as well as SDG
4, IRCI will focus on another SDG, namely SDG 11 in addition to SDG 4, because ICH isdeeply related to the community where the ICH is practiced and transmitted. In order to
1 SDG 4 target4.7: By 2030, ensure that all learners acquire the knowledge and skills needed to promotesustainable development, including, among others, through education for sustainable development and sustainable
lifestyles, human rights, gender equality, promotion of a culture of peace and non-violence, global citizenship andappreciation of cultural diversity and of culture’s contribution to sustainable development
2 Project details: https://www.irci.jp/research/sdgs/

1International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI)

study how children who receive the education related ICH contribute to their communityand put their acquired knowledge and skills into practice for community development,
IRCI will launch a new 2-year project this year. The project aims to unveil relationships
among ICH, SDG 4 and SDG 11 and clarify ICH roles on quality education and community
development through a series of case studies. In cooperation with NGOs in Bangladesh,Indonesia and Kyrgyzstan, IRCI will analyse good practices that combine ICH, education
and/or community development to testify ICH’s contribution to SDGs and utilise theoutcomes for safeguarding ICH effectively.
2. Purpose of the international symposium
The purpose of the international symposium is to share the results of the casestudies conducted by counterparts in order to clarify the relationship among ICH, SDG 4,
and SDG 11 and to find ICH contributions to SDGs, especially SDG 4 and SDG 11. Theinternational symposium will serve to deepen knowledge with respect to therelationship between ICH and SDGs of the participants and to discuss future perspectives
on ICH research that lead to effective ICH safeguarding.
With help from the UNESCO Associated Schools Project Network (ASPUnivNet),
United Nations University Global RCE Network (RCE) and Asia-Pacific Cultural Centre for
UNESCO (ACCU), Japanese youth and educators will be invited from universities andorganisations to the symposium. They will share cases of Japan’s ICH education withinternational researchers and resource persons and promote UNESCO related activities
domestically and internationally.
Furthermore, in cooperation with the Goi Peace Foundation, which has organised
ESD youth conferences, the international symposium will give a valuable opportunity toconsider the relationship among ICH, education and community development from theviewpoints of youth
It also expects to enhance a network of researchers in the ICH related fields in the
Asia-Pacific region.
3. Expected results
1. Relationships among ICH, SDG 4 (Quality Education), and SDG 11 (Sustainable Cities
and Communities) are clarified.
2. ICH contributions to SDGs, especially SDG 4 and SDG 11 are identified.
3. Japanese youth and educators are expected to cultivate their knowledge andunderstanding of ICH safeguarding and SDGs, especially SDG 4 and SDG 11.
4. Participants are expected to build and enhance their research network.

2

International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI)

4. Cooperating Institutions- Dhaka Ahsania Mission (DAM), Bangladesh- Dewi Fortuna Community Learning Center (DFCLC), Indonesia- Taalim-Forum Public Foundation (TFPF), Kyrgyzstan
5. Participants- Experts from DAM, DWCLC and TFPF
- Experts from Vietnam Academy of Social Sciences (VASS), Vietnam Museum of
Ethnology (VME), Vietnam Institute of Educational Sciences (VNIES) and National
Commission for Culture and the Arts (NCCA)- Experts from UNESCO Bangkok Office- Resource persons- Japanese youth and educators* Online participants from ASPUnivNet, UNESCO School, RCE Network and “ESD Japan
Youth” of Goi Peace Foundation will be expected to join as observers (maximum 100
participants).
6. Schedule plan
*Japanese youth and educators will join the session 4 on the second day.
The first day (28 January 2021)
1. Introduction
2. Session 1: Presentations about the case study by the counterparts- Share the case study by each counterpart (Bangladesh/Indonesia/Kyrgyzstan)- Comments from the Participants
3. Session 2: Discussion and analysis- The relationship among ICH, SDG 4 and SDG 11- ICH contributions to SDGs
- Possible solutions for social issues- Future perspectives and challenges regarding the ICH contributions to SDGs

3

International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI)The Second day (29 January 2021)
4. Session 3: Presentation about the follow-up of the previous project by thecounterparts of FY 2018 – FY 2019- Share the current situation in each country (the Philippines/Viet Nam)
- Future attempts/plan- Comments to the case study of 2020 and discussions
5. Session 4: Forum with participation of Japanese Educators and Youth(with simultaneous interpretation)- Brief presentation about the case studies by counterparts in FY 2020
*The short version of the presentation on the 1st day.
- Brief presentations about their activities by Japanese educators and youth- Discussions
6. Closing
7. Organiser
International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region(IRCI)
Address: Sakai City Museum, 2 Mozusekiun-cho, Sakai-ku, Sakai City, Osaka, Japan
Tel: +81-72-275-8050 / Fax: +81-72-275-8151
E-mail: irci@nich.go.jp
Contact:
SASAKI Kazue
Associate Fellow, IRCI
sasaki-k5u@nich.go.jp

4International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI)International Symposium for “Research on ICH Contribution to SDGs:
Education and Community Development” (Online)
Date: 28-29 January 2021
Time: 11:00 - 18:00 Japan Time
8:00 - 15:00 Bangladesh/Kyrgyzstan time
9:00 - 16:00 Indonesia/Thailand/Viet Nam time
10:00 - 17:00 The Philippines time

Programme Schedule
Day1：Thursday 28 January
11:00 - 11:30
Introduction
Opening Remarks
Mr. IWAMOTO Wataru, Director-General, IRCIMr. KAMEOKA Yu,
Senior Deputy Secretary-General,
Japanese National Commission for UNESCO Deputy
Director-General for International Affairs
Ms. Duong Bich Hanh
Programme Specialist for Culture, UNESCO Bangkok Office
SESSION 1: Presentations about the case study
11:30 - 11:50
Mr. ABM Shahab Uddin
Dhaka Ahsania Mission (DAM), Bangladesh
11:50 - 12:10
Mr. Kristian Apriyanta
Dewi Fortuna Community Learning Center (DFCLC), Indonesia
12:10 - 12:30
Ms. Almagul Osmonova
Taalim-Forum Public Foundation (TFPF), Kyrgyzstan
12:30 – 14:00
Lunch BreakSESSION 2: Discussion and analysis
14:00 – 16:00
Themes- ICH contributions to SDGs
16:00 – 16:15
Break
16:15 – 17:30
Themes- Future perspectives and challenges regarding the ICH
contributions to SDGs
17:30 – 18:00
Wrap up for the Day 11

International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI)

Day2：Friday 29 January
11:00 - 11:15
Introduction for the day2
SESSION 3: Presentation about the follow-up of the previous project (FY2018 –FY2019) by the counterparts
11:15 – 11:35
Ms. Renee Talavera
National Commission for Culture and the Arts (NCCA),
the Philippines
11:35 – 11:55
Ms. Pham Thi Thuy Chung
Vietnam Academy of Social Sciences (VASS)
Ms. Vu Hong Nhi
Ms. Vu Phuong Nga
Vietnam Museum of Ethnology (VME)
Ms. Bui Thanh Xuan
Vietnam Institute of Educational Sciences (VNIES)
11:55 – 13:00
Lunch BreakSESSION 4: Forum with participation of Japanese Educators and YouthJapanese youth and educators participate the symposium
Japanese-English simultaneous interpretation available
13:00 – 13:15
Introduction
Opening Remarks
Mr. IWAMOTO Wataru, Director-General, IRCI
13:15 – 14:00
Brief presentation about the case studies(15 min x 3, including Q&A)
* The short version of the presentation on the 1st day
Mr. ABM Shahab Uddin (DAM), Bangladesh
Mr. Kristian Apriyanta (DFCLC), Indonesia
Ms. Almagul Osmonova (TFPF), Kyrgyzstan
14:00 – 14:10
Break
14:10 – 15:10
Brief presentations about the activities of Japanese youth andeducators (15 min x 4, including Q&A)
Introduced by Asia-Pacific Cultural Centre for UNESCO(ACCU), Global RCE Network, The Goi Peace Foundation
ASPUnivNet
Mr. ICHINOSE Tomonori
Professor
National University Corporation Miyagi University of Education
UNESCO associated Schools (applying)
Mr. CHIBA Shin
Principal
Sendai City Akiu Lower Secondary school
RCE Network
Mr. FURUSAWA Reita
Associate professor, International ESD/ SDGs Center,
Chubu University
2

International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI)

15:10 - 15:30
15:30 – 16:30

16:30 – 17:00

The RCE Chubu CoordinatorGroup for transmission of the torch to next generation as cultural
heritage
Mr. TAGUCHI Shintaro
Break
Discussions
Possible themes (The Themes may change):- ICH and education- ICH and community development- Concreate methods to achieve SDG 4 and SDG 11 by using ICH
Closing3

International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI)International Symposium for “Research on ICH Contribution to SDGs:
Education and Community Development” (Online)
Date: 28-29 January 2021
Time: 11:00 - 18:00 Japan Time
8:00 - 15:00 Bangladesh/Kyrgyzstan time
9:00 - 16:00 Indonesia/Thailand/Viet Nam time
10:00 - 17:00 The Philippines time

List of Participants
Bangladesh: Dhaka Ahsania Mission (DAM)

Mr. Md. Shahidul Islam

Head of Education & TVET Sector

Mr. ABM Shahab Uddin

Researcher

Indonesia: Dewi Fortuna Community Learning Center (DFCLC)
Mr. Kristian Apriyanta

Representative

Kyrgyzstan: Taalim-Forum public foundation (TFPF)
Ms. Almagul Osmonova

General Director

Ms. Jyldyz Doolbekova
Ms. Anara Alymkulova

Director, Institute of Sustainable Development Strategy (ISDS)

The Philippines: National Commission for Culture and the Arts (NCCA)
Ms. Renee Talavera

Head, Cultural Communities and Traditional Arts Section

Viet Name: Vietnam Academy of Social Sciences (VASS)
Ms. Pham Thi Thuy Chung

Researcher, Institute for Religious Studies

Viet Name: Vietnam Museum of Ethnology (VME)
Ms. Vu Hong Nhi

Researcher/Deputy Head of Education Department

Ms. Vu Phuong Nga

Researcher/Deputy Head of the Audio-visual Department

Viet Nam: Vietnam Institute of Educational Sciences (VNIES)
Ms. Bui Thanh Xuan

Deputy Director, Research Division for Continuing Education

UNESCO Bangkok
Ms Duong Bich Hanh

Programme Specialist for Culture

Japan: Ministry of Education, Culture, Sports, Science and Technology
Senior Deputy Secretary-General,
Japanese National Commission for UNESCO Deputy/DirectorMr. KAMEOKA Yu
General for International Affairs

International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI)

Resource Persons
Ms. Liou Lin-Yu

Professor, Department of Music Education,
Nara University of Education
Professor,

Mr. Masahisa Sato

Graduate School of Environmental and Information Studies,Tokyo City University

Mr. Tomo IshimuraHead, Audio-Visual Documentation Section,
Tokyo National Research Institute for Cultural Properties

Japanese Youth and educators (Session 4 only)
Programme Coordinator,
Ms. KONISHI Miki

United Nations University Institute for the Advanced Study of
Sustainability (UNU-IAS)
Associate professor,

Mr. FURUSAWA Reita

International ESD/ SDGs Center,
Chubu University
The RCE Chubu Coordinator

Mr. SUZUKI Keisuke
Mr. TAGUCHI Shintaro

ESD Youth Japan Secretariat,
The Goi Peace Foundation
Group for transmission of the torch to next generation as
cultural heritage
Director,

Mr. OYASU Kiichi

Education Cooperation Department
Asia-Pacific Cultural Centre for UNESCO

Mr. CHIBA Shin
Mr. ICHINOSE Tomonori

Principal,
Sendai City Akiu Lower Secondary school
Professor,
National University Corporation Miyagi University of Education

Secretariats
International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI)Mr. IWAMOTO Wataru

Director-General

Ms. SASAKI Kazue

Associate Fellow

Ms. UMEDA Yasuyo

Associate Fellow

APPENDIX 3.
SUSTAINABLE DEVELOPMENT GOALSSustainable Development Goals

Goal 1: End Poverty in all its forms everywhere
Goal 2: End hunger, achieve food security and improved nutrition and promote sustainableagriculture
Goal 3: Ensure healthy lives and promote well-being for all at all ages
Goal 4: Ensure inclusive and equitable quality education and promote lifelong learning
opportunities for all
Goal 5: Achieve gender equality and empower all women and girls
Goal 6: Ensure availability and sustainable management of water and sanitation for all
Goal 7: Ensure access to affordable, reliable, sustainable and modern energy for all
Goal 8: Promote sustained, inclusive and sustainable economic growth, full and productive
employment and decent work for all

Goal 9: Build resilient infrastructure, promote inclusive and sustainable industrialization andfoster innovation
Goal 10: Reduce inequality within and among countries
Goal 11: Make cities and human settlements inclusive, safe, resilient and sustainable
Goal 12: Ensure sustainable consumption and production patterns
Goal 13: Take urgent action to combat climate change and its impacts
Goal 14: Conserve and sustainably use the oceans, seas and marine resources for sustainable
development
Goal 15: Protect, restore and promote sustainable use of terrestrial ecosystems, sustainably
manage forests, combat desertification, and halt and reverse land degradation andhalt biodiversity loss
Goal 16: Promote peaceful and inclusive societies for sustainable development, provide accessto justice for all and build effective, accountable and inclusive institutions at all levels
Goal 17: Strengthen the means of implementation and revitalize the global partnership forsustainable development