ISSN 2092-7959

VOL.19

NGO Activities for Safeguarding and Promoting ICH 2014 Intangible Cultural Heritage Symposium Held in Seoul

A New Horizon for Cultural Heritage

Sun-hwa Rha Administrator Cultural Heritage Administration of Korea

We are entering a new phase of human civilization, one in which the world is integrating into a single global culture. In such a context, a nation’s cultural heritage should be seen as a cultural resource that serves to reinforce national Discussion at the NGO Symposium © ICHCAP identity. This is because spiritual culture, he 2014 Intangible Heritage more about the different activities taking consisting of ideology and philosophy, Symposium was held on 11 March in place among NGOs internationally. Equally as is passed down over centuries through Seoul, Korea. This symposium was co- important, the symposium afforded a chance cultural heritage. Cultural transmission T includes not just inherited phenomena but organized by ICHCAP and the Korea Cultural to promote collaboration between Korean also the values and ideas contained within. Heritage Foundation under the theme of NGO NGOs and NGOs in other regions. A central Thus, it is our great responsibility to ensure Activities for Safeguarding and Promoting theme related to the spirit of collaboration that our cultural heritage gets passed Intangible Cultural Heritage. The meeting and the spirit of the Convention included the down to future generations, just as it has began with opening speeches delivered by Dr ideas on how NGOs can link communities with been passed down to us by our ancestors. Samuel Lee (Directore-General, ICHCAP) and government organizations in safeguarding Efforts are being made all over the Mr Jongjin Kim (President, CHF). activities. This work towards collaboration world to safeguard cultural heritage, In the morning session of the symposium, is expected to contribute to building an but many intangible cultural heritage elements in the Asia-Pacific region are Mr Diego Gradis (Chairman, Traditions pour international ICH NGO network. facing a real threat of extinction due to Demain) and three other international NGO In addition, on 12 March 2014, the ICH widespread industrialization. We have to experts in the field of ICH gave presentations NGO Forum coordinators and Korean NGOs accurately assess the situation and pool on the roles of NGOs in ICH safeguarding. participated in a planning meeting for the our insights to safeguard these treasures, These presentations also included fresh 2014 International Conference of ICH NGOs. which can be seen as parts of humanity’s views on the current situation of NGOs as At the forum, participants discussed the shared heritage. well as their prospects for the future. The conference that will be held later in the year As Administrator of the Cultural Heritage Administration and Chairperson presentations for the afternoon sessions in Jeonju, where the National Intangible of ICHCAP’s Governing Board, I aim to picked up on the idea of the ICH safeguarding Heritage Center of Korea will be opened. contribute in whatever way I can to the activities of NGOs, but the presentations With organizing the 2014 International safeguarding, transmission, and sharing of focused more on Korean organizations and Conference of ICH NGOs as momentum, endangered intangible cultural heritage included relevant information on the Korean ICHCAP will continue to work with ICH in the Asia-Pacific region. I hope to be able communities working to safeguard ICH. NGOs to help strengthening their networks to share our valued traditions with future This symposium provided a platform for nationally, regionally, and internationally. generations and call on your support towards creating a flourishing cultural participants to share their experience and environment in the future. Thank you. offered the attendees an opportunity to learn Pilyoung Park (ICHCAP)

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Safeguarding Ethnic Minority Groups’ ICH to Promote Cultural Diversity Developing collaborative projects based on the current situation in Myanmar and Laos

CHCAP visited Myanmar and Laos from 17 to share information about projects being to 24 February to examine the progress carried out by the respective organizations. I of ongoing collaborative projects and Mr Alam stressed the need for substantial discuss future plans. support to be sustained in Myanmar, and the In the meeting with the Fine Arts De- two organizations agreed to cooperate on partment under the Ministry of Culture in safeguarding ICH in the country. Myanmar on 18 February, ICHCAP and the On 21 February, ICHCAP visited the Department jointly examined the progress of Phone and Nayang villages in Vientiane, the collaborative project on the craftsmanship Laos, to meet local practitioners of traditional and performing arts of Myanmar traditional basket-making techniques. The delegation musical instruments. ICHCAP also proposed then moved on to Luang Prabang on the 22 Meeting with the Fine Arts Department, Myanmar © ICHCAP projects targeted at the ethnic minority February to examine the progress and discuss groups to support video documentation, the future direction of the joint project with that will promote the ICH of minority ethnic performances, and exhibitions, which will the Ministry of Information, Culture and groups in both countries. ICHCAP will also help safeguard and promote their ICH. Tourism. The film director, Mr Peter Livermore, collaborate with the UNESCO Myanmar Office On 19 February, ICHCAP visited the pointed out that support is concentrated to ensure that effective practices and activities UNESCO Myanmar Office in Yangon to meet in regions such as Luang Prabang and that are tailored to the situation in the region. with its office head, Mr Sadar Umar Alam, and there isn’t enough attention being paid to the diverse cultures of other minority ethnic Minyung Jung (ICHCAP) groups. Dr Samuel Lee, Director-General of ICHCAP, and the Laotian authorities agreed to pursue projects to promote the ICH of ethnic CONTENTS minority groups in Laos with proposing the ICH Issues ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ 01 Laotian government to establish concrete Director’s Note ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ 02 plans for future projects under this shared Expert Remarks ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ 03 goal. Windows to ICH ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ 05 Through this visit, ICHCAP obtained Field Report ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ 10 a detailed understanding of the current Inventory-Making Efforts ‐ ‐ ‐ ‐ ‐ ‐ ‐ 12 progress of the collaborative projects Safeguarding Pioneers ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ 14 underway with Myanmar and Laos while Working meeting with the Laos Ministry of Information, ICH News Briefs ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ ‐ 15 Culture and Tourism © ICHCAP reaching agreements towards future projects

Director’s Note

had the chance to visit Myanmar and Laos Myanmar and 230 in Laos. But this is precisely of intangible cultural heritage in the for a week, from 17 to 24 February, to part of the problem—these are rough figures region’s numerous tribes and communities I observe on-site efforts and collaborative of elements listed by name only with no other contributing to sustainable development projects for safeguarding intangible cultural information. and cultural diversity, I am convinced that heritage in the region. Due to time constraints, I was able to visit Myanmar and Laos are truly treasure troves It seemed that a lot of cultural heritage only a few communities. Of the communities I of intangible cultural heritage that humanity remains hidden in Myanmar and Laos, which visited, people of Phone village near Vientiane should strive to preserve. have populations of 50 million in 130 tribes left a lasting and deep impression on me. and 5 million in 46 tribes, respectively. The people lead contented lives on income In conversations with officials from earned from making sturdy baskets, bowls, cultural ministries and intangible cultural and tables out of rattan and bamboo. This heritage experts working in the field, I was cultural knowledge has been passed down for told that it was a challenge to keep track over 300 years, generation after generation. of the intangible cultural heritage in the The community and their ability to safeguard region due to the diversity in language and their heritage strike me as being worthy of environment. I was told there are roughly 400 inscription as a best practice. kinds of intangible cultural heritage listed in Contemplating the hidden wealth Dr Lee visited Phone village, Laos © ICHCAP

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Strengthening NGO Networking in the Field of ICH Jorijn Neyrinck ‌(Belgium – Coordinator for the UNESCO-accredited NGO Tapis Plein, Centre of Expertise for Intangible Cultural Heritage & Participation; Co-organizer of the ICH NGO Forum)

Introduction In the context of the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage, a wide field of NGOs is active in between governments and communities to translate concepts, facilitate and support safeguarding programs, advocate bearers’ perspectives and interests, etc. In doing so, they often turn out to be key actors for successful heritage processes engaging communities. The types of NGOs affiliated with the Convention seem to be as diverse as their working contexts. Just like ICH itself, defined to be dynamic and contextual in nature,1 NGOs differ strongly in focus and working methods, depending on geographical, political, historical, sociological, and ethnological contexts in which they develop and operate. Participants in ICH activities by NGO tapis plein in Flanders © Tapis plein Anton Vancamelbeke In the following article, I introduce the case of the Flemish (Belgian) policy framework communities.” This notion is inspired by the local/provincial heritage policy. These local for ICH and the roles, methods, and network- FARO Framework Convention of the European heritage workers are embedded in local models of NGOs therein. Afterwards, we’ll Council from 2005 on the Value of Cultural communities and networks. They have a good travel outwards to see how national NGOs and Heritage for Society. According to the Cultural view of the needs and requirements of local NGO-networks are connecting within regional Heritage Act, a heritage community is “a heritage communities and organizations. and even global contexts. community that consists of organizations As such, a two-dimensional network for and/or individuals who value specific aspects supporting heritage communities is being Situating the Flemish ICH Policy of cultural heritage that they wish, within formed. The involved organizations work as Belgium is a federal state. Three com- the framework of public action, to sustain brokers, collaborating within the network munities—the Flemish-, French-, and German- and transmit to future generations.” This is and exchanging knowledge and expertise speaking communities—are responsible for an interesting definition to interpret and to on a national (Flemish) level. Organizations the cultural policy in their respective regions. grasp the concept of “communities, groups point out problems and needs as well as best They have to reach consensus on national and individuals concerned” used in the 2003 practices. The two-dimensional network items and on specific international questions, Convention. works well and offers added value for integral as is the case for UNESCO Conventions. The The basic philosophy of the Flemish strategic cooperation as well as for many local communities are responsible for the way they ICH policy is to give heritage communities heritage communities. apply the Convention. opportunities to transmit ICH. It means the In practice, this ICH network is organized The vision paper “A Policy for Intangible heritage community takes the initiative in thematic sub-networks, following the five Cultural Heritage in Flanders” was presented and the Flemish government organizes ICH domains mentioned in the Convention. in 2010. This vision paper indicates the a framework of support and guarantees. Moreover, for the starting years of this policy, direction in which the Flemish policy should Key instruments in this framework are the one NGO has been attributed a central evolve and how the objectives can remain methods of mediation/cultural brokerage and network role: tapis plein, a centre of expertise in accordance with the UNESCO 2003 the operation in a two-dimensional network. working on heritage and participation. This Convention. Crucial to the realization of On the one hand, there is a cluster of NGO focuses particularly on strengthening this policy is the framework of facilitation organizations working on cultural heritage overall cooperation and networking in the ICH and networking. We give more insight into themes or methods having a relevancy for the field. The expertise of tapis plein is situated the way this facilitation and networking is whole of Flanders. Often these are NGOs, such in the knowhow to work with community operated in the following section. as museums, centres of expertise, and cultural participation, education, transmission, archives institutions. and actualization of heritage, taking a A Two-Dimensional Network for ICH Next to these Flemish heritage organi- methodological approach having relevance Central to the Flemish Cultural Heritage Act zations, the government subsidizes local and throughout all ICH domains, considering the (2008, 2012) is the concept of “heritage provincial authorities for implementing a central role of communities and the need (Continued on page 4)

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for supporting transmission of traditions, Not only the Convention’s text but also the and cooperation is developing. Some NGOs practices, etc. Operational Directives do not elaborate considerately invest time and efforts in these much on the (potential) roles of NGOs in the processes. Tapis plein has been very active Online Database and Interactive Website international and national organization of ICH in international networks, often in close Focusing on Safeguarding ICH processes. Moreover, from the recent audit of cooperation with the Flemish NGO, FARO. Another facilitating policy measure for the the methods of the Cultural Conventions,2 we Tapis plein invests a considerable amount ICH sector has been the development of an learn that “a further challenge relates to the of time and energy in international lectures, interactive website with a database focussing consultation and involvement of communities workshops and exchanges. But it cannot on ICH safeguarding. This database makes the and NGOs in developing policies, legislation, be denied how difficult it is for an often following possible: sustainable development plans, etc.” professionally small-scale and financially Nevertheless a lot is happening and deprived ICH-NGO sector to bring up time Making‌ ICH in Flanders visible evolving on the ground. In the past few years, and means for international networking. Linking‌ elements of ICH with each other the number of demands for accreditation We seem to be arriving at a critical point Linking‌ elements of ICH with examples is growing at the same high speed as at this stage. Will NGOs be able to structure of best practices, experts, and nuclei of the ratification number by States Parties. their cooperation and make it sustainable? expertise Participation of NGOs in the Convention’s Can NGOs invest, for example, in cooperating Developing,‌ showing, and reporting on meetings is growing. For several years, for developing and sharing (lighter ways safeguarding measures and measures for accredited NGOs have also been starting to of) best practices in safeguarding? Will the the transmission of ICH organize themselves in the ICH NGO Forum Convention’s framework create the necessary (www.ichngoforum.org): a platform for tools and room to make a difference as In September 2012, the website with database communication, networking, exchange, and national and international NGOs roll out of the was launched in the field. It is an ambitious cooperation for NGOs accredited by UNESCO. Convention in the future? Will NGOs bring up networking and safeguarding instrument in The NGO Forum organizes meetings and means, tools, and languages to bridge many which the following is possible: symposia on shared international challenges of the challenges faced? in the safeguarding policies and practices of NGOs will need to invent and organize communities,‌ groups, and individuals ICH, and it is particularly committed to follow widely interconnected models of NGO can register ICH, link the phenomenon the implementation and the evolution of the international networking. Maybe the to a heritage community and a set of 2003 Convention. Flemish model can serve as inspiration with safeguarding measures Also in these NGO Forum meetings, a its integrating thematic and geographical experts‌ can register and highlight their growing commitment can be observed in networks. programmes for safeguarding ICH recent years. It did not remain unnoticed by Indeed, there are many opportunities States Parties in the most recent 8COM IGC, for NGOs to cooperate in networks on Besides its inventorying function, the website with its vivid activities of working groups, safeguarding ICH. NGOs have a duty to do so, has a platform on which knowledge and meetings, and debriefings. This surely is an in this era of globalization. To respond (better) expertise can be exchanged and discussions élan on which the involved NGOs should to shared challenges. I hope NGOs are on carried out. It is a dynamic virtual world where proceed and develop their contributions to the way, building creative intangible bridges tradition bearers, heritage organizations, and the Convention’s work. Also on more regional above the often more tangible questions experts start discussions and bring together scales, we identify important evolutions. of language, finance, human resources, etc. communities, groups, and individuals around Taking a look at the European region, we can to a co-productive future. Because realizing shared paths and needs. All dimensions see intensifying processes of NGOs, experts, a sustainable future for safeguarding will (local and Flemish, thematic and methodical, and projects cooperation and exchange. have to be made in coproduction. It’s not communities and professionals) become Meetings on national and international possible to have it made top-down by States easily linked to each other by the website. scales elaborate on safeguarding questions, Parties, neither bottom-up made solely by The platform is moderated by tapis plein, questions of participation, good practices and communities. A coproduction of governments, organizing all ICH work in Flanders in one methodologies, etc., and European projects communities, experts, and civil society is the coherent logic and framework. One can follow on ICH get to be established. way to go, with as many on-going roles for the development of the website and database The number of ICH experts and NGOs NGOs to fulfil therein, to translate, to advocate, on www.immaterieelerfgoed.be. It is based on in this regional scale remains accessible, to sensitize, to support, to accompany, etc. open source technologies and wishes to serve and most of them master either English or as model or inspiration for others in the world French as a shared language, so an ever of ICH. more solid network of reciprocal confidence

NGOs in International Networks 1. ‌Article 2, UNESCO ICH Convention, http://www.unesco. The active role of NGOs in the Flemish ICH org/culture/ich/index.php?lg=en&pg=00006

policy is rather exceptional in its extensive 2. ‌Final Report. Evaluation of UNESCO’s Standard ‐ setting Work of the Culture Sector; Part I – 2003 cooperation between the government and Convention for the Safeguarding of the Intangible NGOs. The role of NGOs is rather limited in Cultural Heritage. IOS, http://unesdoc.unesco.org/ images/0022/002232/223256E.pdf the 2003 Convention’s current framework. ICH NGO Forum 2013 at Baku © UNESCO/METLEB

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Traditional Mask Dances Windows to ICH provides an introduction to examples of intangible cultural heritage practices throughout the Asia-Pacific region in relation to specific themes presented in each issue. This issue takes a look at the rich traditional culture represented in mask dances. In these examples from the Republic of Korea, Bhutan, Vanuatu, Tajikistan, and Thailand, you can explore the unique performing arts practiced around the Asia-Pacific region.

Republic of Korea Cheoyongmu:‌ Dancing to the Propitious Cycles of Nature Jong-sook Lee (Expert Advisor, Cultural Heritage Committee, Cultural Heritage Administration)

heoyongmu is a traditional Korean The masked and costumed dancers enter dance performed by five masked the stage in a row in the order of blue, red, C dancers, each dressed in a robe of a yellow, black, and white. Their measured walk different colour. The five colours —blue, red, is set to the pace of the very slow sujecheon yellow, black, and white—define and express (壽齊天) music, giving off an air of leisure and the character of the dance as they represent magnificence. After all five dancers have the ohaeng (五行) ideology of Korean tradition. taken their positions on stage, they face the The five cheoyongs While there is no variation in the cheoyong audience to display the five cardinal colours mask design, it expresses as much meaning they are wearing. It becomes apparent to time. When the four seasons express their as the five colours. The laughing face on scholars of ancient Korean philosophy that respective energies accordingly, time the mask, reminiscent of a kindly old man, the positioning of the colours and their continues its steady cycles, allowing for a full is strikingly expressive. A description of the movements contain a symbolic message. harvest. The harvest then enriches the state, mask is given in a long song sung during the The five cheoyongs dance, mimicking bringing peace to its lands. Cheoyongmu. Crowning its wide forehead the cycles of nature with their five colours. As the Cheoyongmu represents the cycles is a hat full of peonies as well as fruits and Blue represents spring; red is summer; white of nature, it was performed during narye branches of the peach tree. It has eyebrows is autumn; and black is winter while yellow ceremonies at the end of every year as well as thick and long as mountains, below which represents control over the four seasons. as at the end of parties in the royal court and are laughing eyes described as those of Starting with winter, the four seasons government offices to bring in good luck. “lovers who have just met.” Its complexion is revolve, taking turns to interact with the Cheoyongmu is based on a story from the colour of crimson peach blossoms. Below yellow. This shows the cycle of the seasons, the Samgukyusa, a record of mythology the neat row of pearly white teeth juts out a coming and going at an unchanging pace, surrounding King Heongang of Shilla dating prominent chin. Such a visage was believed to neither too hasty nor too sluggish. This back to 875 A.D. Cheoyong, one of the sons contain good fortune, and thus the mask was cycle of nature shows that the intense heat of the Sea Dragon King, took on human form a propitious symbol with the power to bring of summer gradually fades as does the and followed King Heongang to Gyeongju, peace on earth. frost of winter, according to the passage of the capital of Shilla. There, he became a government official and took on a beautiful wife. Cheoyong’s wife became the subject of envy by the smallpox spirit, who stole into Cheoyong’s house while he was out, to lie by her side to test Cheoyong's character. When Cheoyong returned to see this, he began to sing and dance instead of getting angry, which moved the smallpox spirit to kneel down and beg for forgiveness. Thus moved by Cheoyong’s magnanimity, the smallpox spirit made a promise never to enter houses bearing the portrait of Cheoyong. This was how the tradition of hanging Cheoyong portraits on the doors of houses around the end of the year began. Cheoyongmu was born out of this tradition and evolved from a solo dance into a pair dance and eventually into the five person group dance of today. Cheoyongmu was designated Important Intangible Cultural Heritage Number 39 in 1971 by the Korean government and inscribed onto the UNESCO Gisasayeondo from the Gisagyecheob, 1720 © Ewha Womans University Museum Representative List in 2009.

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Bhutan Drametse Ngacham: The Sacred Mask Dance Lungtaen Gyatso (Director, Institute of Language and Culture Studies)

Introduction The Dance of the Drums of Drametse,1 also known as Drametse Ngacham, is a popular mask dance performed throughout Bhutan. It was first introduced in the sixteenth century by Khedup Kuenga Wangpo, son of Terton Pema Lingpa.2 It is a unique Bhutanese cultural expression and reflects the cultural and spiritual identity of Bhutan.3 Until the late nineteenth century, the dance remained confined to the Drametse community under the patronage of Thegchog Ogyen Namdroel Choeling.4 Later it was introduced to other parts of the country. Today, Drametse Nagacham is performed in almost all local festivals and celebrations. In November 2005, at the Third Proclamation of Masterpieces of the Oral and Intangible Heritage of Humanity, UNESCO proclaimed it a Masterpiece. Performer in an owl mask © Yannick Jooris

The Symbolic Meaning of the Dance and enlightenment. According to Buddhism, References Drametse Ngacham is believed to be originally enlightenment is the realization of the innate rDo rje, Srid thel, Dasho, dPal ldan ‘brug pa’i a celestial dance performed in the presence Buddha nature that is predominantly present ‘cham gyi ‘byung khungs dang le’u bshad, of Guru Rinpoche,5 in the pure land of the in every sentient being. Thimphu, 2000 pp. 126. (English version, copper-clad mountains.6 The dancers wear Dasho Sithel Dorje, The Origin and different masks of real and mythical animal Conclusion Descriptions of Dances of Bhutan, 2001). faces. The whole dance is registered as a Drametse Ngacham has received tremendous Thinley, Kuenzang, Drupai Chamgyi Godoen meditative art form in which the dancers support and patronage from the chain of Drelshed Dang Drametsei Ngacham gyi visualize the outer world as pure land and the lineage holders of Thegchog Ogyen Namdroel Migrim Dordue, Nyerkhoi Bumzang (The inner world as a manifestation of peaceful Choeling over the centuries. It has been Descriptions of Bhutanese Dances and and wrathful deities,7 a concept central passed down by an unbroken chain of lineage The Visualization Procedures of Drametse to Mahayana Tantric Buddhism. Peaceful holders until the present day. It is believed Ngacham), 2000. deities are visualized with softer and gentler that only the fortunate get the opportunity Nagphel, Dasho Champoen Chichap, Dances choreography whereas intense and quicker to learn the art of Drametse Ngacham and to of Bhutan and Its Origin, Government of choreography reflects the gestures of wrathful perform it. Bhutanese believe that one has to Bhutan, Kalimpong, 1971. deities. This explains why Drametse Ngagcham see Drametse Ngacham at least once in one’s Gyatso, Lungtaen, The Dance of the Drums from is more than entertainment. It is considered a life to be able to recognize the deities in the Drametse, National Candidature for UNESCO didactic way to impart the sacred and esoteric bardo8 through present life acquaintance with Proclamation, 2004. teachings of the Mahayana Tantric Buddhism the dance. in the form of dance to the commoners. It has a strong philosophical content 1. ‌Name of a community in Eastern Bhutan from where the dance got its name. reflecting Buddhist concepts of Samsara 2. ‌Pema Lingpa is a highly accomplished spiritual figure in history who is also regarded as one of the five great treasure revealers of the Nyingmapa religious school in the Buddhist world viz. 1. Nyangrel Nima Ozer (twelfth century), 2. Guru Choewang (thirteenth century) 3. Dorje Lingpa (fourteenth to fifteenth centuries) 4. Pema Lingpa (fifteenth to sixteenth centuries) 5. Jamyang Khentse Wangpo (nineteenth century).

3. ‌Though Bhutan shares many religious and spiritual similarities with the Himalayan Buddhist world, the Drametse Ngacham has remained purely a unique Bhutanese expression over the centuries. It has not travelled beyond its boundary. Many other Buddhist spiritual dances are transnational in nature.

4. ‌The seat of Drametse Ngacham lineage holders, where the dance was first introduced.

5. ‌The great Indian saint and scholar who introduced Buddhism to the Himalayan world in the eighth century.

6. ‌It is believed to be the abode of Guru Rinpoche, a pure land or a paradise.

7. ‌The sacred outlook of pure vision, where the outer world (physical world) is viewed as pure land and all sentient beings (inner world) are viewed as enlightened entities.

Thegchog Ogyen Namdroel Choeling (Drametse Monastery) 8. ‌Intermediate state, a concept in Buddhism, which is a mental state between death and the next life. © Yannick Jooris

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Vanuatu Rom and Ole: A North Ambrym Mystical Custom Dance Ben Tofor, PhD (Expert, Vanuatu Cultural Center)

he Rom Dance is a prominent cultural to the roms, is that members acquire their heritage originating from Ambrym ranks independently from other systems. The T Island in the Vanuatu archipelago. Ole mage system is a grade-taking chiefly system, in the Ambrym vernacular language refers which are commonly shared in the northern to dance performances in which participants Vanuatu, where Ambrym Island is located. wear a rom mask. The rom, which is the mask While the mage system is secular in terms of itself, is a simpler version of the Banks Islands’ visibility, transparency, and impact over the tamate mask, but it looks more similar to population regardless of age and gender, the South Malekula masks. roms have a more mystical significance, where the title holder is de-humanized and becomes The Rom Mask a sort of living spirit, often representing his Jean Guiart, an internationally renowned paternal grandfather in the process. The ethnologist, visited Vanuatu in the late 1940s dancer is then re-humanized by burning the and early 1950s. He studied Ambrym and mask and leading the spirit on its way back its population’s sociocultural interactions to the mystical world. Rom society members and context. He recorded the following function in a tightly closed group. information about how rom masks are created Rom masks and the ole dance involve a and designed. wealth of tangible and intangible heritage. In The mask is made from coconut fabric performing the ole dance in specially selected stretched over a wooden frame called baye locations—namely Nasara—these spaces ne rom, which is extracted from a herbaceous are closely linked to the performance. They vine. The vine is grated and mixed in its own are, therefore, considered cultural spaces sap to create a thick dough. The resulting Mask used for Ole © Felix Speiser according to the concepts outlined in the plaster material is used to shape the mask. 2003 UNESCO Convention. The hair adorning the rom is made out of aspects that one sees in performances are Meanwhile, the increase in tourists banana tree fibres. A tight string is fixed practically inexistent and rely mostly on the visiting Ambrym to see such performances upon a transversal bar inside the mask. While temporal characterization of one’s status has provided locals with new revenues over dancing, the performer keeps the mask on in Ambrym’s society. In short, the mask is a the past decade. The tourism industry is the his head by holding the bar with his teeth portion of the process involving the ole dance; most secure and vast venue to spread such and by fastening the string behind his head. but its importance cannot be neglected cultural heritage knowledge while providing The mask’s eyes are split to allow the dancer since the mask reveals information about the the necessary economic and social tools to look around. Four colours are used to member. to sustain, preserve, and promote the rom. decorate the mask—red, white, black, and The dancers’ vision, despite the slit in Valorization is achieved through art festivals green—which are extracted from local flora. the mask’s eyes, is obstructed, and they and regular performances based on traditional The rom is worn over a rablar coat, which need to be led to the dancing ground and Ambrym calendars. Three recurrent festivals is made out of banana leaves and almost properly positioned and inspected before the promoted by the Tourism Office in Port Vila reaches to the ground from the performer’s ceremony starts. During the dance, the leaders are the Fanla Art Festival in Fanla village, the shoulder. One arm of the dancer is covered sing and shout around the dancers to mark Yam and Magic Festival in Olal village, and the with a ueran rom, a wooden piece that has the dance area while others hit hollow logs to Back to My Roots Festival, which is also in Olal. bells made out of small nuts, fixed upon it. create a rhythm. The dance is performed in a Diamond motifs are common, and the straight line where pairs of dancers take turns Bibliography size and proportion of the masks as well as following the rhythmic pattern. As the dancers UNESCO. Text of the Convention for the the regularity of their edges vary and usually move within the dancing area, they move in a Safeguarding of Intangible Cultural Heritage. determine the status or rank of the rom. Each slow circling motion and bounce their heads Article 2. 2003. Accessed February 24, rom’s face has a particular name assigned to it, back and forth and from one side to another. 2014. http://www.unesco.org/culture/ich/? differentiating it and its rank within the whole lg=fr&pg=00054 rom society system. An Intangible Heritage amongst Others on Guiart, Jean. Société Rituels et Mythes du Ambrym Nord-Ambrym (Nouvelles-Hébrides). Tome The Ole Dance The rom masks and the ole dance are integral VII, n°7. Extrait du Journal de la Société des The ole dance is an integral part of ceremonies. to the Ambrymese social structure. Not Océanistes. 1951. The process involves crafting the masks as directly related but highly interdependent to Bonnemaison, Joël, Kirk Huffman, Christian well as performing in them and eventually the mage chiefly system, a multitude of secret Kaufmann, and Darrel Tyron. Arts of destroying them. The rituals are a complex societies exists on Ambrym. The particularity Vanuatu. First Edition. University of Hawaii mix of secularized mysticism. The religious of these societies, more specifically in regards Press. June 1, 1997.

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아태뉴스레터 19_영문.indd 7 2014-04-08 오후 2:09:36 Windows to ICH

Tajikistan Sherbozy: The Lion Dance among Tajiks Dilshod Rahimov (Head of the Department of Folklore, Rudaki Institute of Language, Literature and Oriental Studies)

lion dance was a part of the repertoire of mime artists and puppetry Amusicians of Bukhara until the 1940s. In the past, the lion dance was also popular among the populations of Samarkand, Khujand, Istaravshan, and Hisor. Tajik ethnographer Nizam Nurjanov gave the first complete description of the lion dance in his work Tajik Traditional Theatre (1956). He later published more details in an illustrated article arising from his fieldwork in Bukhara. The lion dance was performed by a maskharaboz (clown). A dancing troupe with musicians performed this dance along with other dances during celebrations, at weddings, in bazaars, on central streets and in other social settings. The dance performance used the follow- ing accessories: a lion mask, consisting of a head, a large square cotton cloth depicting the body and a tail; a gazelle mask; and a dragon mask. During the performance, the Sherbozy, the lion dance of Tajikistan © Dilshod Rahimov, N. Nurjanov lion hunted the deer and the dragon. The lion head was sewn from goatskin figurine, 20 cm long. It had four legs and a pair then abruptly dropped to his knees, and then in the shape of a tube that was about 40 of horns. Its body was wrapped with the skin of repeated the motion described above. When cm long. The tube was worn horizontally, antelope and was yellow with a black bottom. the musicians performed another melody, extending in front of the performer’s head. On the gazelle’s neck hung a bell. the dancer moved to another stage, showing On the lower part of the tube was the The dance was performed with the joy on the occasion of a successful animal mouth, which wrapped around the front and participation of all musicians of the troupe. hunt. The dancer knelt, tucking his legs under extended slightly to both sides. On the tube’s Usually musicians started playing a surnay himself, and straightened his upper body. He upper side were the eyes and ears. At the (flute) and doira (a kind of round drum). Sitting pulled out the small figure of the gazelle and bottom of the tube were sewn pieces of felt, or standing on the side, they performed a jolly the stylized figure of the dragon. They danced, signifying lion’s chin and facial hair. melody. In this moment, the lion came out of to show their fear of the predator. Under The mask was prepared from calico. On the room where the actor got ready. The actor calm and soft lyrical dance music, the actor it were eyebrows, eyes (including pupils and showed the power of the lion by circling scene turned the frolicking gazelle in one direction whites), nose, mouth, and triangular patches two or three times. and then the other, its horns poking into the of black velvet. Between the nose and mouth When musicians played a cheerful dance ground. Then the lion raised both figures and was a moustache. Above the eyebrows were tune, the dancer stopped in the middle of kept them on both sides of his mouth. Once two pieces of solid black goatskin depicting the scene. Then lion sat down, cross-legged, the musicians performed new music, the lion the ears. Under the lower jaw were six or holding his body straight. He then threw his hid the gazelle and a dragon in his bosom and seven round and triangular bronze bells. head back quickly, raised his chin high, and got back on his heels. He jumped, pulling his During the dance, the bells made a beautiful slowly showed how the lion roars in the vast legs up 20 cm in one direction and then in the jingle. At the end of the upper portion of the desert. Then artist bowed his head forward, other, and staggered before moving along in mask, immediately behind the performer’s sat on its four legs, and shook his head from an undulating walk. head, was a square piece of black goatskin— side to side. Then once again, he turned In Tajik mythology, the gazelle is the the lion’s mane. The lion’s tail was made of a abruptly, threw his head back, raised his chin most harmless beast, and the dragon is the sturdy meter-long stick wrapped in a piece of high, and roared. All these movements and most dangerous and scary. Images of gazelles black goatskin. staging were repeated many times, sometimes with beautiful eyes and a graceful gait are The lion mask was put on in a special way with variation in perspective, technique, and widespread in folklore. The image of the to avoid scratching the performer’s skin. The stance. During all these movements, especially dragon is widely distributed in the folklore artist first puts on a head scarf, then the tail, when the lion was shaking his head, the bells and beliefs of Central Asia. Victory over the and then the cloth. He hides the figures of the rang loudly. dragon and gazelle emphasizes the lion’s dragon and the gazelle in his bosom. The dancer rose from where he was sitting omnipotence and his ability to capture the The gazelle was depicted by a small wooden and ran in one direction and then the other. He most dangerous and the most helpless animal.

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아태뉴스레터 19_영문.indd 8 2014-04-08 오후 2:09:37 Windows to ICH

Thailand Khon: Thai Mask Play Surapone Virulrak, PhD (Professor Emeritus, Chulalongkorn University)

hon is a Thai dance drama presenting a Ramayana epic. Each dancer wears K a head mask to depict a particular character of the play. Ramayana is the war between Pra Ram (the exile prince of Ayothaya) and Totsakan (the demon king of Longka who abducted Sida, the wife of the prince). Pra Ram, with the help of the monkey troops led by Hanuman, wins the war and returns to Ayothaya with Sida. This lengthy play is divided into a number of episodes, each of which depicts a different battle scene. These episodes are of two types. First is the war play which comprises 1) Totsakan planning for war; 2) demon troupe review dance led by a general who is one of Totsakan’s relatives; 3) Pra Ram preparing for war; 4) monkey troupe review dance led by Pra Ram or his younger brother, Pra Lak; and 5) the battle scene where the demon general is defeated. Second type is a stratagem play that Intorachit, son of Totsakan, with his troop marching for war with Pra Ram © Surat Jongda includes 1) Totsakan planning a stratagem to win over Pra Ram without a war and 2) one of dancer has to hold it firmly with his teeth, performance every year so that the public can Totsakan’s sons or relatives who has a special which also means he must use a special appreciate the aesthetic elements of khon and magic power being sent out to destroy Pra breathing technique. He can see, but with can take pride in the highest quality of Thai Ram in vain. limitations, through two small eye holes of the arts and culture. Young craftsmen are trained Three distinctive elements of khon are the mask, and the wearer has to endure the heat to make the delicate costumes and masks with dance, the costume, and the mask. inside the mask, which lacks ventilation. traditional techniques. And grandiose sets The dancer uses hand gestures to Khon had traditionally been a form of and props with modern lighting design and exemplify the chanting and singing text entertainment provided to the public by the special techniques are deliberately employed. because he wears a mask. The dancer has to royal family and noblemen. The dancers were Young dancers from all over the country are perform many set pieces that each depicts a once all soldiers. In fact, their basic military invited to audition. Thus, many young talents particular emotion. The dancers move from training also included the khon dance. Today, are found, and they have an opportunity to right to left or vice-versa rather than front khon is an indispensable performance at learn from great teachers. and back because khon derived from puppet many royal functions to present the splendour The khon performance comprises theatre where puppeteers dance alongside of the court. Khon is staged at the royal all aspects of Thai arts and culture. It is the screen. Khon dance style is divided into cremation ceremony performing Ramayana to considered one of the best representatives four types: male, female, demon, and monkey. glorify the dead king who is revered as Rama, of Thai identity—the pride and prestige of Khon costumes are theatrical adaptations the incarnation of Lord Vishnu, the protector Thailand. of ancient royal attire with elaborate of the universe. Ordinary people follow this embroidery and ornaments. Each costume tradition by staging a khon play to honour the has a special colour depicting the skin colour dead prior to cremating the body. Khon is also of a character. The male costume is tightly the main programme for state visits and as a sewn to the dancer’s body, which takes about tourist attraction. Khon is regularly performed one hour to complete. The dancer has to train by national theatre artists. Thirteen drama him- or herself to wear the costume for up to colleges provide BA programmes in Khon. six or eight hours straight. Many public schools encourage students A khon mask covers the dancer’s face and to perform khon as a way of taking pride in head. Facial expression, colour, and crown their national heritage as well as being the design of each mask also depict a particular supporters of khon into the future. However, character. Today, a dancer who portrays the aesthetic quality of khon is declining due human character does not wear the mask. to the lack of appropriate support. However, he keeps his facial expression as if Her Majesty Queen Sirikit, realizing he is wearing a mask. To wear the mask, the the situation, funds an elaborate khon Maiyarap episode © Surat Jongda

VOL. 19 | 9

아태뉴스레터 19_영문.indd 9 2014-04-08 오후 2:09:38 Field Report

World Culture Forum “The Power of Culture in Development” Lanny Merlinda Losung (Senior Assistant to the Vice Minister for Culture, Ministry of Education and Culture, Indonesia)

President of the Republic of Indonesia, Susilo Bambang Yudhoyono, delievering a speech at the World Culture Forum © ASEAN-China Centre

ulture. Is it still relevant in the twenty- conferences on culture organized until now, as Professor of Architecture at Gajah Mada first century, the age of globalization? the UN Secretary-General had sounded a note University. Prof Wiendu, who was appointed C Can culture provide useful input of caution by saying, “More of the same will as a member of the governing board of in solving the problems of development, not do.” ICHCAP in 2013, explained that intensive democracy, economy, environment, Acting upon this chain of thought, in WCF preparations had started with intensity urban development, interfaith, and social 2005, Indonesia’s president conceived of the since the end of 2012, in consultation with development? Such questions on the role idea of establishing a periodic international Indonesian and overseas experts; among of culture have become targets of attention World Culture Forum (WCF) as a venue and them are Prof Amareswar Galla of the Inclusive and debate among world leaders and experts vehicle for discussing matters related to Museum Institute and Jeff Campbell of Asia today. culture in development. Indonesia’s Minister Media. Preparations for the WCF reached a The Secretary-General of the United for Education and Culture was charged with climax at the end of November 2013. Nations, Ban Ki Moon, opened the debate preparing and organizing the forum. The WCF was opened by the President at the General Conference of the UN in Prof Kacung Marijan, Director-General of Indonesia on 25 November 2013 at the June 2013 by underlining the significance for Culture, Ministry of Education and Culture Bali International Conference Centre in of the role of culture in development. of the Republic of Indonesia, hopes that the Nusa Dua, Bali. In the presence of over two During that same debate, the President of Bali WCF will become a regular international thousand participants, including five hundred the Republic of Indonesia, HE Dr H. Susilo forum for discussing culture and its relevance, overseas delegates, ministers of culture, Bambang Yudhoyono, remarked that the a forum similar to the World Economic representatives of international organizations, nexus between culture and development had Forum in Davos, Switzerland, and the World and experts as well as local and international not yet been sufficiently explored, and he Environment Forum in Rio de Janeiro, Brazil. media, Dr H. Susilo Bambang Yudhoyono declared his commitment to deep exploration Indonesia’s Vice Minister for Culture, Prof delivered his opening speech. Prof Amartya of the matter of culture in development in the Wiendu Nuryanti, PhD, has been involved Sen, the Nobel laureate in economics, and Dr UN Post-2015 Development Agenda. Yet on in developing the concept and planning Fareed Zakaria, an international media figure, another occasion, in reference to the various of the WCF for many years, since her days followed the opening speech with thought-

10 | ICH COURIER

아태뉴스레터 19_영문.indd 10 2014-04-08 오후 2:09:41 Field Report

Gala dinner with a Jember festival performance © Lanny Merlinda Losung

provoking keynote addresses. The opening Assistant Director-General of ICHCAP, one of Mohamad, a speaker at one of the symposia, was preceded the evening before with a the most active international organizations hoped that the impact of the WCF could be gala dinner and a large-scale collaborative in the Asia-Pacific region in the field of disseminated widely to the public through performance by over six hundred artists at the ICH information and networking, made printed and electronic media. Garuda Wisnu Kencana open stage. a presentation that was well appreciated WCF produced a joint declaration titled Chairman of the WCF Steering Committee, by the audience. NGOs that addressed the “The Bali Promise.” The Promise calls for a Prof Azyumardi Azra of Indonesia, explained international NGO roundtable included measurable and effective role of culture in that many of the most renowned public the Inclusive Museum Institute, IFACCA, development at all levels in the UN Post-2015 figures and experts had been invited to IFLA, ICOM, ICOMOS, IFCCD, ATS, and BPPI Development Agenda. The Promise notes that address the two-day WCF. (Indonesian Heritage Trust). culture is a driver, enabler, and enricher of After the opening ceremony and press WCF continued on 26 November with development. conference was a ministerial roundtable. expert speakers from all over the world The WCF was recognized as a permanent Ministers and high officials from the People’s addressing six thematic symposia, on the platform for promoting the role of culture Republic of China, Bangladesh, Brazil, topics of: in sustainable development and the Malaysia, Yemen, Philippines, Brunei, Timor- safeguarding of the cultural and linguistic Leste, Kyrgyzstan, and Singapore made ‌Holistic Approaches to Culture in Develop- diversity of humanity. WCF participants presentations on culture in development ment welcomed Indonesia’s commitment to be the based on their own national and international ‌Civil Society and Cultural Democracy host of future WCFs. perspectives. ‌Creativity and Cultural Economics Vice Minster Prof Wiendu Nuryanti, on The ministerial roundtable was followed ‌Culture in Environment Sustainability behalf of the government of Indonesia, warmly by two roundtables. The first roundtable was ‌Sustainability Urban Development thanked all those who participated in the WCF. of Intergovernmental Organizations, including Interfaith‌ Dialogue and Community Building Indonesia is committed to hold the Bali WCF UNESCO, ICCROM, WIPO, World Bank, ICHCAP, again on a biennial basis. The second WCF may CRIHAP, and APCEIU. Dr Seong-Yong Park, Veteran Indonesian journalist, Goenawan be held in Bali towards the end of 2015.

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아태뉴스레터 19_영문.indd 11 2014-04-08 오후 2:09:41 Inventory–Making Efforts

ICH Inventorying Efforts and Practices in India Kushal Parkash (Heritage Education Project Coordinator, Central Board of Secondary Education)

Patua women painting a scroll, West Benga © Banglanatak.com

n inventory generally refers to a serve and sustain an element since docu- quite confusing as to which element is to be comprehensive list of tangible items, mentation is a mere archiving tool, though it added in a register or inventory and to why A such as property, goods on hand, is helpful in the revitalization of an element it should be added when it has long been contents in an area. So within this idea, one and as a reference. Professor Galla said, an integral part of life. Also one must bear in must wonder whether it is possible in the field “Documentation can easily induce freezing mind that similar elements may exist among of culture to inventory each item. the element of the transliteration process different communities. There is need to In the field of intangible culture heritage, captures it in time and space.”1 adopt a more flexible approach because the the experts admit that inventorying is a Addressing the issue of inventorying, the diverse communities and cultures define such major challenge in safeguarding endangered question of how do we transform our current elements in vastly different ways within the items. The major issue, however, is to make approaches and practices arises. To articulate a standard format to cover all the details of a the process of inventorying as a tool for particular ICH item or to let it be exclusive with safeguarding and sustaining an ICH element, each element. If we examine, conventional we need to create public awareness and to collection management systems, site surveys launch programmes through educational and mapping methodologies are inadequate institutions. There is a need for trained for dealing with living heritage elements. professionals who can play an important role Therefore, the need arises to discuss the in preparing a database/register of ICH. issues of inventorying, listing, safeguarding, In a country like India where inestimable and raising awareness at length with local ICH elements exist, the process of making communities and to evolve methods for their an inventory is difficult. In India, people live appropriate documentation. their heritage in everyday life. It is a part Documentation alone cannot help pre- and parcel of their lives. Sometimes it seems Surabhi Theatre, Andhra Pradesh © Kushal Parkash

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아태뉴스레터 19_영문.indd 12 2014-04-08 오후 2:09:47 Inventory–Making Efforts

No. Name of Element Detail (PDF) Consent (PDF) View View Buddhist Chanting of Ladakh: Recitation of Sacred Buddhist Texts in the Trans-Himalayan Ladakh Region, 1 Jammu and Kashmir, India. Description Consent Images Video Chaar Bayt: A Muslim tradition in lyrical oral poetry, Uttar 2 Pradesh, Madhya Pradesh and Rajasthan, India Description Consent Images Video Dashavatar: Traditional folk theatre form, Maharashtra 3 and Goa, India. Description Consent Images Video

4 The Festival of Salhesh, Bihar, India Description Consent Images Video Hingan: Votive Terracotta Painted Plaque of Molela, 5 Rajasthan, India. Description Consent Images Video 6 Kalbelia: Folk Songs and Dances, Rajasthan, India Description Consent Images Video Table 1. List of items and the format of the inventory managed by the IGNCA (Source: http://www.sangeetnatak.gov.in) Prulia Chhau dance, West Bengal © Banglanatak.com

operational context in their respective local abundance of its heritage are often inhibiting in) to the current and ongoing nomination, community and environment. factors for many institutions to undertake an documentation, attachments, and audio- There are several inventory-making inventorying exercise. There is an urgent need visual materials of the included elements. The formats in the ICH field—especially in the to draw up inventories or national registers of format of inventory is given in table 2 below. areas of oral tradition, dance, traditional music, ICH elements and registers of living human The responsibility of safeguarding manuscripts, crafts, and traditional knowledge treasures and to develop strategies for cannot be left to the government alone but about nature—that have been undertaken by preserving and sustaining ICH. should be organized through a sustained different ministries, public institutions, private The first, in a most visible and in most collaboration among local bodies at the entities, NGOs, or individuals. There have also identifiable form, Indira Gandhi National village administrative level (gram sabha, been some attempts to create databases at Centre for the Arts (IGNCA) has uploaded the gram panchayat, etc.) as well as to state and local and regional levels in India. However, the Intangible Cultural Heritage Inventory on its national bodies.3 The ICH inventory should purpose, scope, quality, and formats of these website. The list of the items and format of reflect the diversity, richness, and plurality of inventories or registers are often varied, and inventory are as in table 1 above. India’s cultural heritage. consequently there is no comparability among The IGNCA has put all the information in In terms of significance, priority, and the databases, which makes integration and a standardized format. As this inventory also benefit to the community and the world consolidation difficult. Even when there is mentions the art form and consent from the as a whole, a national inventory or register an effort to make a standard format, there community, along with images and videos, it is required to document the multifaceted is a lack of human resources to undertake can evolve into a comprehensive inventory in aspects of India’s ICH, its ethnic and cultural actual data collection. In many instances, the country. diversity, and its plural composite cultural inventories or registers lack comprehensive Since 2011, the Sangeet Natak Akademi nature as well as and the sheer volume of ICH information because the data was initially has been the nodal agency endorsed by the present in its territory. collected without any standard formats, which Ministry of Culture Government of India for evolved later, and therefore, comprehensive Intangible Cultural Heritage programme.2 1. ‌Amareswar Galla, “inDivisible: Locating Intangible information about the elements is lacking at As the first step in making a national ICH Heritage in Museums” (Paper presented at the National Conference on Museum and Intangible Cultural the data collection level itself. A methodology inventory on its website, it offers a collective Heritage, Seoul, Republic of Korea, October 26–31, 2012. for mapping and conducting surveys of database of many well-known institutions 2. ‌http://sangeetnatak.gov.in/sna/national-inventory.htm cultural zones needs to be put in place in a and organizations engaged in safeguarding 3. ‌Part of discussions on inventory making with Professor more comprehensive and sustainable manner. culture. The national database also has links Molly Kaushal, HoD, Janapada Sampada, IGNCA, New Delhi. The vastness of the Indian territory and the available on the website (sangeetnatak.gov.

No. Name of Element Detail (PDF) Consent (PDF) View View Other reference links

1 Kutiyattam, Sanskrit Theatre http://kerala.gov.in/ 2 The Tradition of Vedic Chanting http://www.sangeetnatak.gov.in/ 3 Ramlila - the Traditional Performance of the Ramayana http://www.sangeetnatak.gov.in/ 4 Novruz, Nowrouz, Nooruz, Navruz, Nauroz, Nevruz Ramman: Religious Festival and Ritual Theatre of the 5 Garhwal Himalayas Description Video http://uk.gov.in/ http://www.jharkhand.gov.in/ http://odisha.gov.in/ 6 Chhau Dance Description Consent Images Video http://westbengal.gov.in/ Table 2. Format of the inventory managed by the Sangeet Natak Akademi (Source: http://www.sangeetnatak.gov.in/sna/inventory.htm)

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아태뉴스레터 19_영문.indd 13 2014-04-08 오후 2:09:48 Safeguarding Pioneers

International Mask Arts & Culture Organization (IMACO) Du-hyun Kwon (Secretary-General, International Mask Arts & Culture Organization)

Organization and nations. In this regard, to understand The International Mask Arts & Culture Or- masks and their communities is to understand ganization (IMACO) was established in 2006 to history and the perspective through which the construct archives of mask-related culture that individuals and communities view the world. is integral to cultural community symbols. To help stimulate and revitalize interest Masks are a part of most cultural spheres. in mask dances and related performances, They are a valuable cultural heritage that IMACO established the annual Andong reflects the culture and history of a community. Mask Dance Festival. The festival serves IMACO, through research, preservation, as a venue for cultural exchange among International conference in Bangkok © IMACO and data accumulation, aims to develop an international participants involved with understanding of mask culture. Moreover mask performances. As a consequence, related to masks and their symbolic and IMACO focuses on the value that masks as mask-related data is collected through academic meanings. For example, the promote in terms of freedom, peace, and these exchanges, IMACO has reinforced organization held an international conference equality, which in turn gives us an approach its activities and has delved deeper in its in Bangkok, Thailand (2009), Bali, Indonesia to understand human values. IMACO research activities. Furthermore, IMACO has (2011), and Thimphu, Bhutan (2013), and in has members who are responsible for been investigating mask culture and related 2015, IMACO is planning to hold an academic documenting mask and the symbolic culture activities as a way to formulate an idea for symposium with the Shanghai Social Science related to masks; this would include mask sustainable creation into the future. IMACO Academy in China. creators, mask dance performers, and mask focuses on the meaning of preserving culture museums. and researches activities that can contribute Plan IMACO opened its organization structure to adding value to mask culture in the future. The most emphasized and promoted task of so that all cultures can participate. In 2006, Specifically, research activities are based IMACO is the creation of the World Mask and twenty-four countries agreed to establish on a community’s values and the relationship Culture Map. Since masks are symbols of a their headquarters in Andong, Republic of of masks to myths, rituals, and mask-making community and represent characters related Korea. Since then, 131 individuals and group processes as well as the symbolic value of to the community, the act of making a mask members from 56 countries have joined. masks to music, dance, and other arts. As a culture map is also an exercise in identifying form of international collaboration, IMACO the cultural DNA of a community. Activities supports mask-related festivals of other The cultural mask map will be an important Masks are just tools, but they are a part of nations as well. instrument in examining and classifying data humanity’s universal culture and cultural In addition to festivals and related activities, related to mask culture. It will also help us integration, which showcase value of IMACO also publishes a web magazine to understand the accumulated perspectives cultural diversity. Masks are very special as strengthen interchange among members and of individual communities and promote the culture elements in that they are tangible to provide mask-related data. coexistence of diverse values. manifestations of the symbolism that runs Since 2006, IMACO held symposiums, IMACO is working not only on listing data through the culture of individuals, villages, workshops, exhibitions and other events values but also on networking, researching mask culture, and promoting understanding so that mask performers can work creatively. IMACO also publishes an online magazine, promotes mutual interchange, and supports international visit to festivals and exhibitions.

Prospects IMACO pursues the “value of cultural diversity,” which is aligned with the aims of UNESCO. IMACO endeavours to infuse humanity with the rich value of diversity that can only come from sharing accumulated cultural knowledge. For its work in shaping the future of human perception through masks and the symbolic value of masks, IMACO was recommended to be accredited by the Intergovernmental Committee of the UNESCO ICH Convention as an advisory body World Mask Dance Festival © IMACO of intangible cultural heritage in 2013.

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아태뉴스레터 19_영문.indd 14 2014-04-08 오후 2:09:50 ICH News Briefs

[Lao PDR] The Lao People’s Democratic Should you be interested in mounting words. These interviews were collected Republic’s National Capacities Reinforced the physical exhibition or receiving a alongside SSAC staff and in accordance copy of the virtual exhibition, please with the principles of community-based From 20 to 24 January 2014, a capacity- contact the ICH section at the following inventorying, and the book is a direct building session on preparing address: [email protected] result of this collaboration with all of nominations to the lists of UNESCO’s [Source: UNESCO] these stakeholders contributing to these Convention for the Safeguarding of safeguarding efforts. The images for the the Intangible Cultural Heritage took [Timor-Leste] Ministry of Education Launched a publication are from National Geographic place in Vientiane Province. About thirty Publication along with contributions from a number participants, including government of prominent photographers from Timor- officials and experts involved in The Living Heritage of Communities in Leste. safeguarding cultural heritage, from Lao Timor-Leste was jointly published by Following the book launching cere- PDR received theoretical and practical UNESCO, National Geographic, and the mony, an exhibition titled The Living training on the nomination process, SSAC within the framework of the Timor- Heritage of Communities in Timor-Leste which is understood as a process of Leste Emergency Funds-in Trust to raise was held on 4 February at Largo Lecidere community-based safeguarding. A awareness of ICH safeguarding in Timor- in Dili, Timor-Leste. The exhibition was particular focus was on possible national Leste. A key focus of this publication has opened by the Minister of Education, and international efforts and procedures been placing communities at the heart of Minister of Tourism, Vice Director of the to put in place for listing elements. the ICH safeguarding process. To this end, President’s Office, and the SSAC with Facilitated by two UNESCO-trained the publication includes quotes from ICH support from UNESCO and National experts, Shubha Chaudhuri from India and practitioners in Timor-Leste who explain Geographic Traveler. Paritta Koanantakool from Thailand, and the significance of their ICH in their own [Source: UNESCO Jakarta Office] with the participation of Tim Curtis, Chief of the Culture Unit of UNESCO Bangkok Office, this workshop was part of a capacity-building programme on the 2003 ICHCAP’s New Presence on SNS Convention supported by UNESCO/Korea Funds-in-Trust. Since November 2011, the CHCAP has established its presence on UNESCO/Korea Funds-in-Trust has been Facebook and Twitter, the two most providing its beneficiaries with training I popular social networking sites (SNS) on implementing the Convention at the online. The Centre now has four social national level and community-based ICH networking accounts: two accounts on Facebook, one in English and another in inventorying. After this training assistance, Korean, and two on Twitter, again one several field activities to inventory ICH will in English and one in Korean. The sites be carried out in pilot areas until the end will include news and pictures related of the programme, which is foreseen to ICHCAP’s page on Facebook © ICHCAP to the Centre’s activities as well as daily continue to June 2014. morning posts, mostly about Asia-Pacific [Source: UNESCO] ICH information. There are plans to provide behind-the-scenes information about the Centre, especially during major events, such as international conferences. Every Tuesday, the Centre’s SNS features a post introducing various ICH from around the [UNESCO] Nurturing Sustainable Development world. On 18 February, while the Sochi Winter Olympic Games were under way, the Centre through Safeguarding Living Heritage posted information about the Russian Federation’s two ICH elements inscribed on UNESCO’s Representative ICH List: Cultural Space and Oral Culture of the Semeiskie as well as Olonkho, A virtual exhibition illustrating the role Yakut Heroic Epos. Then on 25 February and 4 March, ICH elements from two Asia-Pacific ICH plays in sustainable development is nations were introduced: Arirang, Lyrical Folk Song in the Republic of Korea, and Vanuatu Sand now online. Its message is that culture is Drawings, respectively. As for other activities on the SNS, the Centre is making an effort to a fundamental enabler of sustainability, mention all internationally recognized days, such as International Mother Language Day (21 February from the UN), and many other major national holidays around the world. a source of meaning and energy, a The Centre is happy to have another set of channels through which it can reach out to wellspring of creativity and innovation, the public and promote awareness of humanity’s ICH. We hope that these SNS accounts and a resource to address challenges and will promote official and unofficial communication between the Centre and various parties, find appropriate solutions. The exhibition including other institutions, communities, practitioners, and the general public. The Centre is features examples from different parts of dedicated to making its SNS activities fun and intriguing, so that even the general public will the world (Brazil, Egypt, Estonia, Kenya, find it interesting to learn about. Visit our pages at Facebook and Twitter (please see the note Samoa, and Spain) and highlights how ICH below) to see our development and to learn more about ICH. contributes to health, food security, social Jimin Hwang (ICHCAP) cohesion, and other development goals. ICHCAP’s Social Networking Accounts The exhibition was made possible https://twitter.com/ICHCAP‌ through the generous contributions of https://www.facebook.com/ICHCAP.UNESCO.C2‌ Monaco and Turkey.

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아태뉴스레터 19_영문.indd 15 2014-04-08 오후 2:09:50 [Uzbekistan] Workshop on Incorporating justice is not possible, sustainable with recommendations for the successful Elements of ICH Concerning National Singing in development is not possible.” arrangement and celebration of the the Existing Subject Area on Musical Culture Ms Toumi affirmed Algeria’s com- sixteenth National Culture Day under mitment to participate in safeguarding the theme, “Everything for Harmonized A workshop on incorporating elements African intangible heritage. She said, National Culture.” of intangible cultural heritage concerning “This Centre is dedicated to Africa Prime Minister Hun Sen said that national singing in the existing subject because we want to pay tribute to our cultural heritage, which is delivered to us area on musical culture was held in continent and its cultural heritage, by the efforts of our ancestors, is our spirit Tashkent on 19 and 20 February 2014. rooted deeply in history. We want to and identity and full of national prestige. The workshop was organized by pay tribute to all those communities He also said that cultural heritage has the the UNESCO Office in Tashkent and that have been able to perpetuate this potential to contribute to socioeconomic the Ministry of Public Education of heritage and to turn it into cultural development and serve as a foundation Uzbekistan with the support of the capital, ensuring its best chance for to link groups and individuals with each UNESCO Regional Bureau in Bangkok. safeguarding.” other, coexisting without discrimination. The workshop was organized within The Centre, which will be based in Al- The event, held in Phnom Penh, was the framework of the UNESCO project giers, will aim to encourage the adoption presided over by Prime Minister Hun Sen Promoting Intangible Cultural Heritage of political, legislative, and administrative and attended by government officials, for Educators to Reinforce Education for measures for safeguarding intangible parliamentarians, senators, diplomatic Sustainable Development, funded by heritage and to strengthen capacities in corps, writers, artists, and students. the Japanese Funds-in Trust, which aims terms of identification, documentation, [Source: Ministry of Tourism of Cambodia] to develop teaching materials on ICH inventory, and safeguarding by placing for further incorporation into the school custodian communities at the heart of curriculum to reinforce cultural diversity these processes. It will also be respon- as a core part of sustainability. sible for promoting cooperation and The purpose of the workshop was to networking among practitioners, experts, equip teachers of the pilot schools with national authorities, centres of expertise, the necessary knowledge and skills to research institutions, museums, and other teach national songs in the framework of agencies and institutions to support the the musical culture classes. implementation of the 2003 Convention National Culture Day © Sim Satta [Source: UNESCO Tashkent Office] in the region. This Centre will complement the work of six existing centres (in Bulgaria, China, Japan, Peru, the Islamic Republic of Iran, MAR 2014 and the Republic of Korea) exclusively PUBLISHED BY dedicated to safeguarding intangible International Information and Networking Centre heritage, as well as one centre in Brazil, for Intangible Cultural Heritage in the Asia-Pacific which is dedicated to both tangible and Region under the auspices of UNESCO (ICHCAP) intangible heritage. ADDRESS [Source: UNESCO Kabul Office] 132 Munji-ro, Yuseong-gu, Daejeon 305-380 Republic of Korea Workshop participants © UNESCO TEL +82 42 820 3513 FAX +82 42 820 3500 [ICH C2 Centre] New Centre in Algiers for “Intangible Heritage in Africa” EMAIL [email protected] WEBSITE www.ichcap.org Ms Irina Bokova (Director-General EXECUTIVE PUBLISHER Samuel Lee of UNESCO) and Ms Khalida Toumi EDITORIAL ADVISORY BOARD (Algerian Minister of Culture) signed an Moe Chiba, Alisher Ikramov, agreement on 28 February to create a Hongnam Kim, Jesus Peralta, Regional Centre for the Safeguarding of Akatsuki Takahashi Agreement signing © UNESCO/P.Chiang-Joo the Intangible Cultural Heritage in Africa EDITOR-IN-CHIEF Seong-Yong Park under the auspices of UNESCO, which [Cambodia] Sixteenth National Culture Day EDITORIAL STAFF will play a key role in strengthening the Boyoung Cha, Saymin Lee, Woojin Ahn, region’s capacities for safeguarding its On 3 March 2014, Cambodia celebrated Michael Peterson living heritage. the sixteenth anniversary of National DESIGN & PRINTING Yemack Korea “This Centre is supporting our efforts to Culture Day with a series of traditional ISSN 2092-7959 place culture at the heart of sustainable songs, dances, and performances The ICH Courier may be downloaded from development,” said Ms Bokova. “Without conducted by artists from various www.ichcap.org and reprinted free of charge culture, and in particular without the provinces. provided the source is acknowledged. intangible heritage in all its diversity, Cambodian Prime Minister Samdech Printed on recycled paper social inclusion is not possible, social Tech Hun Sen recently issued a directive

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