Kai Weise

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Rehabilitation and reconstruction of monuments will only be possible if we have knowledgeable and skilled artisans

BAGAN: A workshop on Intangible Heritage that took place in Bagan Myanmar raised some basic questions on the value of the intangible. What is intangible cultural heritage? Even though the 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (ICH) defines ICH, it is hardly clear what it really is and especially how we are to grasp this ethereal determinant of culture.

The intangible is in constant flux as it adapts to changing circumstances. It is in minds of humans that intangible heritage exists in the form of knowledge. Through skills derived by the human body it is possible to express intangible heritage. The knowledge and skills are passed down from generation to generation and each generation will add, amend, elaborate or remove aspects as communities develop and change. This process ensures that communities retain their own identity whereby ensuring the overall safeguarding of cultural diversity.

The 2003 Convention defines five domains of ICH which are (1) oral tradition, (2) performing arts such as traditional music, dance and theatre, (3) social practices, rituals and festive events, (4) knowledge and practices concerning nature and the universe and (5) traditional craftsmanship. The convention’s goals are to safeguard intangible cultural heritage while ensuring its respect, raising awareness on its importance and providing assistance to do so. Safeguarding would mean “to ensure the long-term viability of intangible heritage within communities and groups”. There is no definition provided for ‘community’ since the understanding of what a community is may vary from case to case. It is, however, necessary for communities to respect each other’s differences while conforming to internationally acknowledged principles of human rights.

The 1972 UNESCO Convention Concerning the Protection of the World Cultural and Natural Heritage addresses intangible heritage in a slightly different manner. As a convention that is concerned with immovable tangible heritage, the value of the intangible heritage lies in its association with the site. Both Kathmandu Valley and Lumbini were inscribed on the World Heritage List based on their associative value to the intangible. The nomination dossier states that the Kathmandu valley “is tangibly associated with the unique coexistence and amalgamation of Hinduism and Buddhism with animist rituals and Tantrism. The symbolic and artistic values are manifested in the ornamentation of the buildings, the urban structure and often the surrounding natural environment, which are closely associated with legends, rituals and festivals”.

Great expectations are placed on intangible heritage as the vehicle for cultural continuity. This can be the means of unifying communities and creating resilient societies. It is especially evident after a major disaster such as the recent earthquake that communities resort to their cultural roots to provide strength and reassurance for their healing and rehabilitation. The fervour with which the festivals are celebrated with people singing and dancing through the rubble strewn streets shows their will to ensure continuity.

The rehabilitation and reconstruction of the monuments will only be possible if we have knowledgeable and skilled artisans. The master crafts-persons must be identified and acknowledged. They must be seen as ‘living national treasures’ as the Japanese do for ‘keepers of important intangible cultural properties’. The system of apprenticeship must be expanded to ensure that sufficient artisans are trained to allow for the restoration of the tangible heritage.

The rehabilitation of our cultural sites will depend more on the strength of the intangible than that of the tangible heritage. We talk of strengthening the monuments to withstand the impact of earthquakes. There are misconceived ideas floating around promoting the use of modern technology and materials to ensure resilient structures. Over time it is not the structures that will persist. Cultural continuity can only be ensured through the knowledge and skills of the community being passed on from generation to generation.

The author is an architect and can be contacted through paharnepal@hotmail.com

A version of this article appears in print on September 12, 2015 of The Himalayan Times.

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