This article lists the practices listed in UNESCO intangible cultural heritage in India.
Understand
The country has thirteen practices included in the "representative list of intangible cultural heritage From UNESCO.
No practice is included in the "register of best practices for safeguarding culture "Or on the"emergency backup list ».
Lists
Representative list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| Ramlila, traditional representation of Ramayana | 2008 | * Performing Arts * Social practices, rituals and festive events * Oral traditions and expressions | Ramlila, literally "the play of Rama", stages the epic of Ramayana in the form of paintings combining songs, narrations, recitations and dialogues. She is represented throughout northern India during the Dussehra festival which is held in the fall each year according to the ritual calendar. The most representative Ramlila are those of Ayodhya, Ramnagar and Benares, Vrindavan, Almora, Sattna and Madhubani. This Ramayana staging is based on the Ramacharitmanas, one of the most popular storytelling forms in the north of the country. This sacred text to the glory of Rama, the hero of the Ramayana, was composed by Tulsidas in the sixteenth century, in a dialect close to Hindi, in order to bring the Sanskrit epic within the reach of all. Most of the Ramlila relate episodes of the Ramacharitmanas through a series of performances that last between ten and twelve days, or even a month for that of Ramnagar. Hundreds of festivals are held in every locality, town and village during the Dussehra festival season which celebrates Rama’s return from exile. The Ramlila evokes the battle between him and Ravana and consists of a series of dialogues between the gods, the wise and the faithful. It draws all its dramatic force from the succession of icons representing the climax of each scene. The audience is invited to sing along and take part in the narration. This tradition brings together the entire population, regardless of caste, religion or age. All the villagers participate spontaneously, playing certain roles or joining in various related activities such as the making of masks and costumes, make-up, or the preparation of effigies and lighting. However, the development of the media, in particular television soap operas, provokes a disaffection of the public for the representations of Ramlila which consequently lose their main vocation, namely to bring together people and communities. |  |
| The tradition of Vedic chanting | 2008 | * Social practices, rituals and festive events * Oral traditions and expressions | The Vedas are a vast body of Sanskrit poetry, philosophical dialogues, myths and ritual incantations developed and composed by the Aryans over 3,500 years. Considered by Hindus to be the primary source of all knowledge and the sacred foundation of their religion, the Vedas embody one of the oldest cultural traditions still alive today. The Vedic heritage brings together a large number of writings and interpretations divided into four Vedas commonly called "books of knowledge", although they have been transmitted orally. The Rig Veda is an anthology of sacred hymns; the Sama Veda contains musical arrangements of the hymns from the Rig Veda and other sources; the Yajur Veda brings together the prayers and sacrificial formulas used by priests; and the Atharna Veda is a collection of magical incantations and formulas. The Vedas also offer a true historical panorama of Hinduism and shed light on the origins of several artistic, scientific and philosophical concepts, such as that of zero. Expressed in the Vedic language from classical Sanskrit, the verses of the Vedas were traditionally sung during sacred rituals and recited daily in Vedic communities. The value of this tradition does not lie so much in the rich content of its oral literature as in the ingenious techniques employed by the Brahmins to preserve the texts unchanged over the millennia. To keep the sound of each word intact, practitioners learn from childhood complex recitation techniques based on tonal accent, a unique way of pronouncing each letter, and specific combinations of speech. Although the Vedas continue to play an important role in Indian life, only thirteen of the over a thousand Vedic branches that once existed have survived. Four famous Vedic schools - Maharashtra (in central India), Kerala and Karnataka (in the south) and Orissa (in the east) - are further considered to be in danger of imminent disappearance. |  |
| Sanskrit theater, Kutiyattam | 2008 | Performing Arts | Kutiyattam, a Sanskrit theater in the province of Kerala, is one of India's oldest living theater traditions. Appeared over 2000 years ago, it is both a synthesis of Sanskrit classicism and a reflection of the local traditions of Kerala. In its stylized and codified theatrical language, eye expression (neta abhinaya) and body language (hasta abhinaya) play a fundamental role in focusing attention on the thoughts and feelings of the main character. Actors must undergo rigorous training of ten to fifteen years to become actors worthy of the name and acquire a perfect mastery of breathing and the subtle movements of the muscles of the face and body. The art of developing a situation or an episode down to the smallest detail, so much so that the performance of a single act can last several days and the entire play, up to 40 days. Kutiyattam is traditionally performed in theaters called Kuttampalams, set up inside Hindu temples. Originally reserved for a small audience due to their sacredness, performances have gradually opened up to larger audiences. However, the actor's charge retains a sacred dimension, as evidenced by the purification rituals to which he previously submits or the oil lamp that burns on the stage, symbolizing the divine presence. Male actors pass on extremely detailed drama textbooks to their students, which until recently have remained the exclusive and secret property of some families. With the end of the feudal order and the concomitant disappearance of patronage in the nineteenth century, the families who held the secrets of dramatic techniques found themselves facing serious difficulties. Despite a revival at the beginning of the twentieth century, the kutiyattam now has to face again a lack of financial means leading to a serious crisis within the profession. In these circumstances, the institutions responsible for the transmission of the tradition joined forces to ensure the continuity of this Sanskrit theater. |  |
| 1 The Ramman, religious festival and ritual theater of Garhwal, in the Himalayas, India | 2009 | * Social practices * Social practices, rituals and festive events * Performing Arts | Each year at the end of April, the twin villages of Saloor-Dungra in the state ofUttarakhand (North India) are under the sign of Ramman, a religious festival in honor of the tutelary god Bhumiyal Devta, a local deity whose temple hosts most of the festivities. This event consists of rituals of great complexity: recitation of a version of the epic of Rama and various legends, and interpretation of songs and masked dances. This festival is organized by villagers, with each caste and professional group having a distinct role: for example, the young and the elders are the artists, the Brahmans lead the prayers and perform the rituals, and the Bhandaris - local representatives of the caste of the Kshatriya - have the exclusive right to wear one of the most sacred masks, that of the half-man, half-lion deity Narasimha. The family that hosts Bhumiyal Devta during the year must adhere to a strict daily routine. Combining theater, music, historical re-enactments, oral and written traditional narratives, Ramman is a multifaceted cultural event that reflects the ecological, spiritual and social conception of the community, traces its founding myths and strengthens its self-esteem. In order to ensure its viability in the future, the community's priority objectives are to strengthen its transmission and its recognition beyond the geographical area of its practice. |  |
| Mudiyettu, ritual theater and dance drama of Kerala | 2010 | * Performing Arts * Social practices, rituals and festive events * Oral traditions and expressions * Knowledge and practices concerning nature and the universe * Know-how related to traditional craftsmanship | The Mudiyettu is a ritual dance drama of Kerala based on the mythological account of a fight between the goddess Kali and the demon Darika. It is a community ritual in which the whole village participates. After harvesting the summer crops, the villagers go to the temple in the early morning hours, on the appointed day. The traditional performers of Mudiyettu purify themselves through fasting and prayer, then draw on the temple floor, using colored powders, a giant portrait of the goddess Kali, called kalam, in which the spirit of the goddess is invoked. This sets the stage for the living performance that follows, in which the divine and wise Narada urges Shiva to subdue the demon Darika, who is immune to defeat by man. Shiva instead orders that Darika die at the hands of the goddess Kali. Mudiyettu is practiced every year in the “Bhagavati Kavus”, temples of the goddess, in the various villages along the rivers Chalakkudy Puzha, Periyar and Moovattupuzha. The mutual cooperation and collective participation of each caste in the ritual inspires and strengthens common identity and reciprocal bonds in the community. The responsibility for its transmission lies with the elders and the older actors who hire apprentices in the younger generation during the performance of the ritual. Mudiyettu is an important cultural vehicle for the transmission to future generations of traditional values, ethics, moral codes and aesthetic standards of the community, thus ensuring their continuity and relevance in the present day. |  |
| The Kalbelia folk songs and dances of Rajasthan | 2010 | * Performing Arts * Knowledge and practices concerning nature and the universe * Know-how related to traditional craftsmanship * Oral traditions and expression * Social practices, rituals and festive events | The songs and dances are an expression of the traditional way of life of the Kalbelia community. Formerly snake charmers, the Kalbelia evoke their past occupation through music and dance that evolve into new and creative forms. Today, women in long black skirts dance and twirl imitating the movements of a snake, while men accompany them to the sound of a percussion instrument - the khanjari - and a wooden wind instrument - the poongi - which was traditionally played to capture snakes. The dancers wear tattoos with traditional patterns, jewelry and clothing richly decorated with small mirrors and silver thread embroidery. The Kalbelia songs draw their material from the mythological stories of which they transmit knowledge; some special traditional dances are performed on the occasion of Holi, the festival of colors. The songs are also a testament to the poetic skill of the Kalbelias, renowned for their ability to spontaneously compose lyrics and improvise songs during performances. Passed down from generation to generation, the songs and dances are part of an oral tradition, which is not based on any text or training manual. Singing and dancing are, for the Kalbelia community, a source of pride and a marker of their identity, at a time when their traditional nomadic way of life and their role in rural society are gradually disappearing. They are proof of the efforts made by a community to revitalize its cultural heritage and adapt it to socio-economic changes. |  |
| Chhau dance | 2010 | * Performing Arts * Social practices, rituals and festive events * Know-how related to traditional craftsmanship | The Chhau dance is a tradition in Eastern India inspired by episodes of epics including the Mahabharata and Ramayana, local folklore and abstract themes. Its three distinct styles come from three regions: Seraikella, Purulia and Mayurbhanj; the first two use masks. The Chhau dance is intimately linked to regional festivals, in particular the spring festival, Chaitra Parva. It would derive its origin from indigenous dance forms and warlike practices. Her movement vocabulary includes mock combat techniques, stylized imitation of birds and animals, and movements inspired by the daily household chores of villagers. The Chhau dance is taught to dancers (exclusively men) from traditional artist families or local communities. The dance is performed at night in an open-air space to the sound of traditional and popular melodies, played on reed instruments, the mohuri and the shehnai. Various rhythmic ones dominate the musical accompaniment. Chhau dance is an integral part of the culture of these communities. It brings together individuals from all social strata and ethnic origins who have different social practices, beliefs, professions and languages. However, as communities increasingly cut off from their roots, increasing industrialization, economic pressures and new media are causing a decline in collective participation. |  |
| The Buddhist chant of Ladakh: recitation of sacred Buddhist texts in the transhimalayan region of Ladakh, Jammu and Kashmir, India | 2012 | * Social practices, rituals and festive events * Performing Arts * Oral traditions and expressions | In the monasteries and villages of the Ladakh region, Buddhist lamas (priests) chant the sacred texts illustrating the mind, philosophy and teachings of the Buddha. Two forms of Buddhism are practiced in Ladakh - Mahayana and Vajrayana - and there are four major sects: Nyngma, Kagyud, Shakya and Geluk. Each sect has several forms of chanting, practiced during life cycle rituals and on important days of the Buddhist and agrarian calendars. The song is performed for the spiritual and moral well-being of the people, for purification and peace of mind, to appease the anger of evil spirits or to invoke the blessing of various Buddhas, Bodhisattvas, deities and rinpoches. It is performed in groups, either seated inside or accompanied by dances in the courtyard of the monastery or in a private house. The monks wear special costumes and make hand gestures (mudras) that represent the divine being of the Buddha, while instruments such as bells, drums, cymbals and trumpets bring musicality and rhythm to the song. Acolytes are trained under the rigorous direction of older monks; they frequently recite the texts until they are memorized. The songs are performed daily in the assembly hall of the monastery where they serve as a prayer to the deities for world peace and for the personal development of practitioners. |  |
| The sankirtana, ritual songs, drums and dances of Manipur | 2013 | * Performing Arts * Social practices, rituals and festive events | The sankirtana encompasses a set of arts interpreted to accompany certain religious festivals and certain stages in the life of the Vaishnavas on the plains of Manipur. Sankirtana practices focus on the temple where performers recount Krishna's lives and deeds through song and dance. Typically, during a performance, two drummers and about ten singer-dancers perform in a large hall or in the courtyard of a house, surrounded by seated devotees. The dignity and flow of aesthetic and religious energy are second to none, causing audience members to tears and prostrate themselves before the performers. The sankirtana has two main social functions: it brings people together on festive occasions throughout the year, thus acting as a cohesive force within the Vaishnava community of Manipur, and it establishes and strengthens relationships between individuals and the community during ceremonies linked to the cycles of life. The sankirtana is thus regarded as a visible manifestation of God. Manipur sankirtana is a vibrant practice that promotes an organic relationship with the people; indeed, the whole of society is involved in its safeguard with specific knowledge and skills traditionally transmitted from mentor to disciple. It acts in harmony with nature whose presence is recognized by many rituals. |  |
| The traditional handcrafting of brass and copper utensils of the Thatheras of Jandiala Guru, Punjab, India | 2014 | * Oral traditions and expressions * Social practices, rituals and festive events * Know-how related to traditional craftsmanship | The craftsmanship of the Thatheras of Jandiala Guru is the traditional technique of making brass and copper utensils in Punjab. The metals used - copper, brass and some alloys - are believed to be beneficial to health. The process begins with the supply of cooled metal ingots which are flattened into thin plates. These are then hammered to give them a curved shape and create the small bowls, rimmed plates, large pots intended to hold water or milk, large kitchen dishes and other desired artifacts. Heating the plates while hammering them to bend them and give them different shapes requires precise temperature control, made possible by small stoves (aided by manual bellows) buried in the ground and fueled with wood. The making of the utensils ends with polishing, carried out by hand, using traditional materials such as sand and tamarind juice. The designs are etched by skillfully hot hammering the metal to create a series of tiny bumps. The crafted utensils perform ritual or utilitarian functions and are intended for individual or community use on special occasions, such as weddings, or in temples. The manufacturing process is passed down orally from father to son. Metalworking is not only a means of subsistence for the Thatheras but it defines their family and kinship structure, their professional ethics and their status within the social hierarchy of the city. | |
| Yoga | 2017 | * Knowledge and practices concerning nature and the universe * Performing Arts * Social practices, rituals and festive events * Oral traditions and expressions | The philosophy behind the ancient practice of yoga has influenced many aspects of Indian society, from health and medicine to education and the arts. Founded on the harmony of body, mind and soul to enhance physical, spiritual and mental well-being, the values of yoga are part of the philosophy of the community. Yoga combines postures, meditation, controlled breathing, recitations of words and other techniques aimed at developing the individual, alleviating pain and allowing a state of liberation. It is practiced at all ages, without discrimination of sex, class or religion and has become popular around the world. Yoga was traditionally transmitted as part of the Guru-Shishya (master-student) model, with the gurus being the main custodians of the associated knowledge and skills. Today yoga ashrams or hermitages, schools, universities, community centers and social networks allow devotees to study the traditional practice. Ancient writings and manuscripts are used in the teaching and practice of yoga, and many modern works are available. |  |
| 2016 | * Oral traditions and expressions * Performing Arts * Social practices, rituals and festive events * Knowledge and practices concerning nature and the universe * Traditional crafts | The Novruz, or Nowrouz, Nooruz, Navruz, Nauroz, Nevruz, marks the New Year and the beginning of spring in a very large geographical area, including, among others, theAzerbaijan, the'India, the'Iran, the Kyrgyzstan, the Pakistan, the Turkey and theUzbekistan. It is celebrated every 21 March, date calculated and originally set based on astronomical studies. The Novruz is associated with various local traditions, for example the mention of Jamshid, mythological king of Iran, with many stories and legends. The rites that accompany it depend on the location, from jumping over fires and streams in Iran to tightrope walks, placing lighted candles at the door of the house, to traditional games. , such as horse races or traditional wrestling practiced in Kyrgyzstan. Songs and dances are the rule almost everywhere, as well as semi-sacred family or public meals. Children are the primary beneficiaries of the festivities and participate in many activities such as decorating hard-boiled eggs. Women play a central role in the organization and running of the Novruz, as well as in the transmission of traditions. The Novruz promotes values of peace, solidarity between generations and within families, reconciliation and good neighborliness, contributing to cultural diversity and friendship between peoples and different communities |  | |
| The Kumbh Mela | 2017 | Social practices, rituals and festive events | The Kumbh Mela (Feast of the Sacred Jar) is the largest peaceful gathering of pilgrims in the world. Participants come to bathe or immerse themselves in a sacred river. Believers wash away their sins and hope to break free from the endless cycle of reincarnations by bathing in the Ganges. Millions of people go there uninvited. Ascetics, holy men, sadhus, kalpavasis aspirants and visitors gather there. The festival takes place every four years, taking turns in Allahabad, Haridwar, Ujjain and Nashik. Millions of people go there, regardless of their caste, creed or gender. Its main holders, however, belong to akhadas and ashrams, religious organizations, or live on alms. The Kumbh Mela plays a central spiritual role in the country. It exerts a magnetic influence on ordinary Indians. The event combines astronomy, astrology, spirituality, ritual traditions, cultural and social customs and practices, which make it a knowledge-rich event. Held in four different cities in India, the event features different social and cultural activities, making it a culturally diverse festival. The transmission of knowledge and skills related to this tradition is ensured by ancient religious manuscripts, oral traditions, traveler's accounts and texts written by eminent historians. However, the student-teacher relationship of sadhus in ashrams and akhadas remains the most important mode of transmission and safeguarding of knowledge and skills related to Kumbh Mela. |  |
Register of Best Safeguarding Practices
India does not have a practice listed on the Best Safeguarding Practices Register.
Emergency backup list
India does not have a practice on the Emergency Safeguarding List.
