Intangible Cultural Heritage (Culture)

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IMPLEMENTASI BAB III IMPLEMENTASI BAB III CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE TERHADAP PELESTARIAN BERBAGAI WARISAN KEBUDAYAAN TAKBENDA DI INDONESIA.

IMPLEMENTASI BAB III IMPLEMENTASI BAB III CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE TERHADAP PELESTARIAN BERBAGAI WARISAN KEBUDAYAAN TAKBENDA DI INDONESIA.

A large number of intangible cultural heritage in the world and the need to protect it causes UNESCO to issue Convention For The Safeguarding Of The Intangible Cultural Heritage. Indonesia, as one of the countries that has ratified the convention, has the obligation to take part in conserving intangible cultural heritage in Indonesia. Therefore, a cause that become the question in this research is whether Indonesia has done the obligation as a state parties according to chapter III from the Convention For The Safeguarding Of The Intangible Cultural Heritage. The purpose of this thesis is to know the congruity of the performance of chapter III from the Convention For The Safeguarding Of The Intangible Cultural Heritage in conserving intangible cultural heritage in Indonesia. This research was conducted normatively, using secondary data that consists of primary, secondary and tertiary legal materials. Library research and interviews, with sources to get the information that was needed by the writer, were conducted in searching for the source data, writer also used the qualitative method of thinking with deductive reasoning in drawing the conclusion. The conclusion of this thesis is that Indonesia has carried out the obligation to conserving the intangible cultural heritages in Indonesia by involving almost the whole Indonesian community, even though there are some problems in doing the conserving and protecting the intangible cultural heritage in Indonesia because of its quite massive amount. Suggestions from this thesis are that first, the role of society in conserving the intangible cultural heritages in Indonesia should be increased. Second, publication of intangible cultural heritage inventory system should be increased. Third, UNESCO should make sanctions, for every state partie’s obligations to be really implemented.
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PENDAHULUAN IMPLEMENTASI BAB III CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE TERHADAP PELESTARIAN BERBAGAI WARISAN KEBUDAYAAN TAKBENDA DI INDONESIA.

PENDAHULUAN IMPLEMENTASI BAB III CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE TERHADAP PELESTARIAN BERBAGAI WARISAN KEBUDAYAAN TAKBENDA DI INDONESIA.

Berdasarkan batasan konsep yang telah penulis uraikan di atas,maka yang dimaksud dengan Implementasi Bab III Convention For The Safeguarding Of The Intangible Cultural Heritage Terhadap Pelestarian Berbagai Kebudayaan Takbenda Di Indonesia adalah pelaksanaan ketentuan yang terdapat dalam bab III Convention for The Safeguarding of The Intangible Cultural Heritage dalam setiap tindakan termasuk keputusan, kebijakan dan perencanaan yang diambil berdasarkan persetujuan yang formal dan multilateral yang dikeluarkan oleh UNESCO sebagai suatu organisasi internasional yang mengatur mengenai perlindungan kebudayaan tak benda, sebagai upaya perlindungan, pengembangan, dan pemanfaatan kebudayaan yang dinamis, terhadap keseluruhan gagasan, perilaku, dan hasil karya manusia dan/atau kelompok manusia yang bersifat fisik maupun non fisik dalam bentuk praktek, representasi, ekspresi, pengetahuan, keterampilan--serta alat-alat, benda (alamiah), artefak dan ruang-ruang budaya terkait dengannya--yang diakui oleh berbagai komunitas, kelompok, atau perseorangan sebagai bagian warisan budaya mereka yang diperoleh melalui proses belajar dari adaptasi terhadap lingkungannya.
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PERLINDUNGAN FALSAFAH TRI HITA KARANA DI BALI DITINJAU DARI UNESCO CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE 2003.

PERLINDUNGAN FALSAFAH TRI HITA KARANA DI BALI DITINJAU DARI UNESCO CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE 2003.

Bali melalui masyarakat Balinya merupakan salah satu sisa-sisa masyarakat adat yang kaya akan pengetahuan tradisional. Tri Hita Karana merupakan pengetahuan mengenai bagaimana mencapai keseimbangan Semesta yang diekspresikan melalui banyak bentuk Warisan Budaya Takbenda (WBTB) atau istilah lainnya ialah Ekspresi Budaya Tradisional (EBT). Tidak adanya suatu peraturan yang tepat, meningkatnya ketertarikan masyarakat modern ini menimbulkan ancaman baru bagi keberlanjutan keberadaan pengetahuan ini. Penggunaan yang tidak lagi sesuai dengan sesuai dengan seharusnya menghasilkan mutilasi dan degradasi pada maknanya. Pada waktu yang bersamaan modernisasi mempengaruhi pemikiran masyarakat adat atas budayanya sendiri. Peneitian ini mencoba untuk mengetahui apakah peraturan dalam UNESCO Convention for the the Safeguarding of Intangible Cultural Heritage 2003 (CSICH), yang mana Indonesia merupakan salah satu pihak di dalamnya, cukup untuk melindungi dan menjaga filsafah Tri Hita Karana dan untuk kemudian menentukan langkah-langkah yang perlu dilakukan untuk membuat pengaturan terbaik.
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PERAN UNESCO DALAM MELINDUNGI INTANGIBLE CULTURAL HERITAGE (ICH) INDONESIA

PERAN UNESCO DALAM MELINDUNGI INTANGIBLE CULTURAL HERITAGE (ICH) INDONESIA

Alhamdulillahi rabbil aalamin, segala puji bagi Allah SWT atas segala limpahan rahmat, nikmat, dan pertolongan-Nya serta Shalawat dan Salam kepada junjungan Nabi besar Muhammad SAW, sehingga penelitian dengan judul “ PERAN UNESCO DALAM MELINDUNGI INTANGIBLE CULTURAL HERITAGE (ICH) INDONESIA ” ini dapat peneliti selesaikan. Peneliti menyampaikan apresisasi dan terima kasih sebesar-besarnya kepada Bapak Victory Pradhitama, M.Si dan Bapak Drs. Sugeng Pujilaksono, M.Si. yang telah membimbing peneliti dengan sangat bijaksana selama proses penelitian ini. Peneliti juga mengucapkan terima kasih banyak kepada tim penguji Bapak Ruli Inayah Ramadhoan, M.Si dan Bapak Drs. Abdullah Masmuh, M.Si. atas kritik dan sumbangan ide-idenya yang sangat berharga.
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PERLINDUNGAN, PELESTARIAN, DAN PEMANFAATAN SENI BATIK DALAM PERSPEKTIF HUKUM INTERNASIONAL BERDASARKAN UNESCO CONVENTION FOR THE SAFEGUARDING OF INTANGIBLE CULTURAL HERITAGE.

PERLINDUNGAN, PELESTARIAN, DAN PEMANFAATAN SENI BATIK DALAM PERSPEKTIF HUKUM INTERNASIONAL BERDASARKAN UNESCO CONVENTION FOR THE SAFEGUARDING OF INTANGIBLE CULTURAL HERITAGE.

UNESCO sebagai sebuah organisasi internasional yang menangani masalah kebudayaan dan pendidikan, telah mengapresiasikan seni batik Indonesia sebagai bagian dari intangible cultural heritage, karena seni batik menghasilkan pola dan motif yang menyimpan simbolisasi terhadap status sosial, masyarakat lokal, alam, sejarah sebuah bangsa dan warisan budaya. Selain itu seni batik merupakan warisan budaya yang tidak dapat dipegang dan dimiliki oleh suatu komunitas atau masyarakat, walaupun pencipta atau pelakunya hanya orang-orang tertentu dengan kualifikasi tertentu pula. Apresisasi tersebut dinyatakan melalui sebuah sertifikat. Sertifikat tersebut berperan sebagai lex specialis dari UNESCO Convention For The Safeguarding of Intangible Cultural Heritage Tahun 2003, karena dengan mensertifikasikan seni batik maka UNESCO mambantu perlindungan seni batik Indonesia sehingga tetap terjaga kehormatan seni batik sebagai sebuah warisan budaya dan melestarikan seni batik sebagai warisan budaya tak benda.
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PENUTUP IMPLEMENTASI BAB III CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE TERHADAP PELESTARIAN BERBAGAI WARISAN KEBUDAYAAN TAKBENDA DI INDONESIA.

PENUTUP IMPLEMENTASI BAB III CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE TERHADAP PELESTARIAN BERBAGAI WARISAN KEBUDAYAAN TAKBENDA DI INDONESIA.

Berdasarkan penelitian yang telah penulis lakukan terhadap implementasi bab III Convention For The Safeguarding Of The Intangible Cultural Heritage terhadap pelestarian berbagai warisan kebudayaan takbenda di Indonesia maka diperoleh kesimpulan bahwa di Indonesia, upaya pelestarian dan perlindungan warisan budaya takbenda telah dilakukan sebagai konsekuensi pelaksanaan kewajiban yang telah ditentukan di dalam bab III Convention For The Safeguarding Of The Intangible Cultural Heritage oleh negara Indonesia dengan melibatkan hampir seluruh lapisan masyarakat. Pelestarian warisan budaya takbenda dilakukan dengan usaha yang utama yaitu inventarisasi/pencatatan warisan budaya takbenda yang ada di Indonesia untuk kemudian diajukan sebagai nominasi di UNESCO melalui Representative List of the Intangible Cultural Heritage of Humanity, pembentukan peraturan-peraturan yang bertujuan untuk melestarikan warisan budaya takbenda tersebut, pemanfaatan budaya, penelitian, akses informasi terhadap daftar warisan budaya takbenda yang telah diinventarisir, hingga pengenalan budaya melalui pendidikan.
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BATTLING FOR SHARED CULTURE BETWEEN INDONESIA AND MALAYSIA IN THE SOCIAL MEDIA ERA

BATTLING FOR SHARED CULTURE BETWEEN INDONESIA AND MALAYSIA IN THE SOCIAL MEDIA ERA

This is a research paper that takes as its central issue recent contestations and negotiations between Indonesia and Malaysia regarding certain forms of these countries’ intangible cultural heritage. In recent years, there has been an increasing incident in relation with cultural conflicts that happens between these two neighboring countries. These cultural conflicts specifically referred to the traditional performance arts, which has been hereditarily bequeathed by their respective ancestors. Despite the facts that both countries shared the same cultural roots, each side seems has a tendency to despise each other whenever the subject of culture ownership is being brought: both claim for the same cultural rights. Questions on which side is more entitled to the rights became public fierce debates; and it wildly happened especially in the online world through the medium of social networking platform. This paper examines the phenomenon on how should the ownership of authenticity be placed. And since it happens in the modern societies which cannot be separated from their digital personas, the role of social media is inexorably also be addressed. It will link the two identities of the public who is initially mere the audience of the performance then transform into the owner of the cultural product in dispute. This essay begins by a major length discussion about the concept of authenticity in culture, along with the ownership of intangible heritage, the motivation for claiming authenticity, and the protection of cultural property. It will then go on to the topic of the major changes brought by social media in the modern society. Subsequently it will continue to the state of cultural conflict between Indonesia and Malaysia over ‘stolen’ cultural heritage.
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Prototype of Information System of Tangible Cultural Heritage Documents Management.

Prototype of Information System of Tangible Cultural Heritage Documents Management.

Abstract: The geographical position of Central Java which is in the middle of the island of Java, making it a melting pot of cultures as well as the cultural center of Java island. Cultural heritage is divided into tangible cultural heritage and intangible cultural heritage. Tangible cultural heritage is the work of the human body that can be moved or moving, or that cannot be moved or did not move. Department of Culture and Tourism of Central Java has documented manually cultural heritage but very vulnerable to damage. There are also many cultural heritages that have not been recorded. The process of data collection and recording are very difficult, since the data sources are scattered and not well organized. Documentation of cultural heritage in Central Java can be used as an information system database for a wide range of cultural interests in Central Java. The aim is to facilitate and ease The Department of Culture and Tourism of Central Java to documents and records cultural heritage collections for the category of tangible cultural heritage. In the long-term plan, this system can be used as a reference by another region, thus forming the national cultural heritage documentation system.
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isprsannals II 5 W3 363 2015

isprsannals II 5 W3 363 2015

as an example, the funds from the Central/Local Government has decreased from CNY 51,230,000 to 640,000 between 2002 and 2010, in contrast self funding has increased from CNY 30,520,000 to 72,670,000. This means that less than 1% of the funds now come from the Central Government (in 2010). As a result, tourist services were the largest category if of incoming generating activities in the digitisation of heritage sites. But one of the most urgent problems shown by both the 24 pilot sites and Slender West Lake was that much valuable information about cultural traditions, symbolic meanings, oral histories, cannot be integrated into the current management system. The management system for cultural landscape heritage should be more comprehensive than the current one. Containing a large amount of intangible cultural heritage, such as legends, oral traditions, symbolic associations, is a significant feature of China’s cultural landscapes. The information of these intangible cultural heritages is necessary factors for site management and decision-making. Mountain Lushan Scenic Area is a good example which has more than 3,000 poems created in its history. These poems are a significant part of Lushan culture demonstrating the historical meaning of the landscape. However, there was no digital database for these poems and even other intangible cultural heritage evidence in the digital archive of Lushan.
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isprs archives XLII 2 W5 335 2017

isprs archives XLII 2 W5 335 2017

and Digitization held in Beijing (CHCD2012) was entitled “ e- sharing culture heritage”. The term “digital heritage” was used for the first time referring to digitization in the field of cultural heritage. The virtual reconstruction of the Old Summer Palace and the mobile-based applications of the “Digital Yuanmingyuan” project attracted the attention of scholars from home and abroad. The 2013 and 2015 Digital Heritage International Congress held by UNESCO identified five major types of digital heritage (archaeological / architectural heritage, intangible cultural heritage like traditional folk culture, moveable cultural relics and museums, ancient books and archives, internet and new media with digital artistic and creative content) and six working areas (digital recording and acquisition, display and visualization, digital content management and analysis, digital heritage related policies and standards, preservation of digital heritage resources, solution and application) (International Congress on Digital Heritage. 2013). The discussions covered a wide spectrum of topics, including theoretical research, technological innovation, practical case studies and equipment development. The 2015 conference consisted of a series of related events, including seminars, an exhibition and competition, and the 270 submitted works from various disciplines (information science, archaeology, art and interdisciplinary fields) showed that the word “digital h eritage ” has now been used in a generic way to cover all aspects of “ cultural heritage ”, going beyond the original meaning of “ digit ization”. This paper will be discussing the emerging field of ಯ digital heritage ರ following this wide definition.
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isprsarchives XL 5 W7 461 2015

isprsarchives XL 5 W7 461 2015

Record behaviour of Intangible Cultural Heritage can be traced back to the beginning of the advent of photography and video apparatus. Traditional performance arts, festivals and handicraft industry as important factors of different people's life and production, because of their representative, ornamental and recreational characteristics etc, often become the shooting object of early professional photographers. For example, the first film produced by Chinese is Beijing Opera fragments documentary called "Ding Jun Shan" (1905). Presently, some foreign institutions and organizations set up websites to share these early images and videos collections which contain photos, audio and video related with Intangible Cultural Heritage of human history and traditional culture. For example, the Norwich HEART’s Digital Heritage Project in the east of England, digitally processing hundreds of the early archive films, aims to show the social history and tradition, these digital video resources present in the network, including the production process images of traditional agriculture, fisheries, animal husbandry and also local people’s main entertainment etc. (1) For another example, the Massachusetts Institute of Technology launched the MIT Visualizing Cultures Research in 2002, using new technology and visual materials unprecedentedly released ever to reconstruct the history for people. Lots of still images in the websites taking time and place as the coordinate, not only mainly reflect the important historical events and social backgrounds, but also reflect the traditional handicrafts and social life scenes in urban areas of China, Japan and other countries. (2)
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isprsarchives XL 5 W7 187 2015

isprsarchives XL 5 W7 187 2015

Cantonese Opera, as the sole cultural heritage of Guangdong Province of China so far, which was included in the World Intangible Cultural Heritage List by the UNESCO, bears the cultural memory of the Lingnan region and as well as the overseas Chinese worldwide. Located in the core historic urban area – Enning Road of Guangzhou, the Cantonese Opera Art Museum is designed in Lingnan traditional garden manner, through going deep into the Cantonese opera culture, Lingnan traditional garden culture and Lingnan cultural spirit. The design highlights the integrated conservation of tangible and intangible cultural heritage, to protect living history and build the historical environment and place spirit for the intangible cultural heritage. The Cantonese Opera Art Museum is not only a tangible space for exhibition, study, education and display of the Cantonese Opera art, but also a cultural space with the Lingnan cultural memory, gathering the Lingnan intangible heritage and closely linked with current life of successors and ordinary people.
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PURWARUPA TANGIBLE CULTURAL HERITAGE DOCUMENTATION BERBASIS DATABASE MULTIMEDIA

PURWARUPA TANGIBLE CULTURAL HERITAGE DOCUMENTATION BERBASIS DATABASE MULTIMEDIA

The geographical position of Central Java which is in the middle of the island of Java, making it a melting pot, which is a gathering place and a blend of cultures as well as the cultural center of Java island. Cultural heritage is divided into tangible cultural heritage and intangible cultural heritage. Tangible cultural heritage is the work of the human body that can be moved or moving, or which can’t be moved or do not move. Department of Culture and Tourism of Central Java province has documented manually cultural heritage which are vulnerable to damage. On the other hand, there are many cultural heritages that has not been recorded. The process of data collection and recording very high difficulty because the data sources that complement a collection of many scattered and not well organized. It takes a collection of cultural heritage in Central Java centrally whose results can be used as a data base for a wide range of cultural interests in Central Java. The aim is to facilitate and ease of Culture and Tourism of Central Java province in doing the documentation of cultural heritage collections for the category of tangible cultural heritage. In the long-term plan, this system can be used as a reference by the Central Java region outside, thus forming the archipelago's cultural heritage documentation system at the national level.
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RANCANG BANGUN SISTEM INFORMASI PENGELOLAAN DOKUMEN TANGIBLE CULTURAL HERITAGE.

RANCANG BANGUN SISTEM INFORMASI PENGELOLAAN DOKUMEN TANGIBLE CULTURAL HERITAGE.

The geographical position of Central Java which is in the middle of the island of Java,making it a “meltingpot”of cultures as well as the cultural center of Java island. Cultural heritage is divided into tangible cultural heritage and intangible cultural heritage. Tangible cultural heritage is the work of the human body that can be moved or moving, or that cannot be moved or did not move. Department of Culture and Tourism of Central Java has documented manually cultural heritage but very vulnerable to damage. There are also many cultural heritages that have not been recorded. The process of data collection and recording are very difficult, since the datasources are scattered and not well organized. Documentation of cultural heritage in Central Java can be used as a information system database fora wide range of cultura linterests in Central Java. The aim is to facilitate and ease The Department of Culture and Tourism of Central Java to documents and records cultural heritage collections for the category of tangible cultural heritage. In the long-term plan, this system can be used as a reference by another region, thus forming the national cultural heritage documentation system.
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Statistik kebudayaan dan bahasa 2019 - Repositori Institusi Kementerian Pendidikan dan Kebudayaan

Statistik kebudayaan dan bahasa 2019 - Repositori Institusi Kementerian Pendidikan dan Kebudayaan

6 Pendidikan dan Pelatihan Warisan Budaya Tak Benda Batik Indonesia untuk Siswa SD, SMP, SMA, SMK, dan Mahasiswa Politeknik, bekerjasama dengan Museum Batik Pekalongan (Education and training in Indonesian Batik intangible cultural heritage for elementary, junior, senior, vocational school and polytechnic students, in collaboration with the Batik Museum in Pekalongan )

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PURWARUPA TANGIBLE CULTURAL HERITAGE DOCUMENTATION BERBASIS DATABASE MULTIMEDIA.

PURWARUPA TANGIBLE CULTURAL HERITAGE DOCUMENTATION BERBASIS DATABASE MULTIMEDIA.

Jawa Tengah dengan luas ±32.548 km 2 memiliki berbagai macam potensi budaya (Hakim, 2012), di antaranya adalah peninggalan budaya dikenal juga dengan melting pot. Warisan budaya di Jawa Tengah sangat beragam yang dapat dikelompokkan menjadi dua. Pertama, benda warisan budaya yang dapat diraba (tangible cultural heritage) seperti bangunan bersejarah Candi Borobudur di Kabupaten Magelang dan Lawang Sewu di Kota Semarang. Kedua, warisan budaya yang tidak diraba (intangible cultural heritage), misalnya tulisan aksara Jawa dan tari tradisional serta upacara adat. Tercatat 5 world heritage yang diakui oleh Organisasi Pendidikan, Ilmu Pengetahuan, dan Kebudayaan (United Nations Educational, Scientific, and Cultural Organization – UNESCO) dimiliki Jawa Tengah. World heritage tersebut adalah Candi Borobudur, Kawasan Situs Sangiran (Sangiran the Early Man Site) di Kabupaten Sragen, wayang, batik, dan keris pusaka (Hakim, 2012). Warisan budaya tersebut diakui sebagai warisan budaya dunia karena nilai universal yang sangat luar biasa (outstanding universal value). Kenyataan ini memberi nilai lebih bagi perkembangan budaya dan pariwisata yang selanjutnya dapat dimanfaatkan untuk membangun peradaban di provinsi Jawa Tengah menjadi lebih baik, khususnya dari segi budaya dan pariwisata.
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Peraturan Presiden No 78 th 2007

Peraturan Presiden No 78 th 2007

Mengesahkan Convention for the Safeguarding of the Intangible Cultural Heritage (Konvensi untuk Perlindungan Warisan Budaya Takbenda) dengan Declaration (Pernyataan) terhadap Pasal 26 ayat (2) yang naskah aslinya dalam Bahasa Inggris dan terjemahannya dalam Bahasa Indonesia sebagaimana terlampir dan merupakan bagian yang tidak terpisahkan dari Peraturan Presiden ini.

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PERPRES NO 78 TH 2007

PERPRES NO 78 TH 2007

Mengesahkan Convention for the Safeguarding of the Intangible Cultural Heritage (Konvensi untuk Perlindungan Warisan Budaya Takbenda) dengan Declaration (Pernyataan) terhadap Pasal 26 ayat (2) yang naskah aslinya dalam Bahasa Inggris dan terjemahannya dalam Bahasa Indonesia sebagaimana terlampir dan merupakan bagian yang tidak terpisahkan dari Peraturan Presiden ini.

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Pelestarian Benda Cagar Budaya dan Pemanfaatannya bagi Pembangunan Bangsa

Pelestarian Benda Cagar Budaya dan Pemanfaatannya bagi Pembangunan Bangsa

Perlu dicatat bahwa penggunaan istilah benda cagar budaya dalam U.U. No. 5 Tahun 1992 itu kita analogikan dengan istilah tangible cultural heritage/property yang dapat diterjemahkan seba- gai warisan budaya kebendaan yang dibedakan dari intangible cultural heritage/ property yaitu warisan budaya bukan kebendaan. 2 Memang lebih kurang 158 negara dalam Undang-Undang nasional- nya menggunakan istilah berbeda-beda untuk benda cagar budaya, seperti kita mendapat gambaran dari ringkasan peraturan perun- dang-undangan nasional negara-negara yang telah dihimpun dan dipelajari Unesco (Compendium of legislative texts, The protection
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