on Promotion of Safeguarding IntangibleCultural Heritage

Final Report

Osaka, Japan, 26 February - 1 March 2004

Co-organized by

Asia/Pacific Cultural Centre for UNESCO (ACCU)

Bunkacho

Japanese National Commission for UNESCO

2004 ACCU Regional Meeting

in Asia and the Pacific

on Promotion of

Safeguarding IntangibleCultural Heritage

Asia-Pacific Database on Intangible Cultural Heritage (ICH) by Asia-Pacific Cultural Centre for UNESCO (ACCU)

Published by

Asia/Pacific Cultural Centre for UNESCO (ACCU)6, Fukuromachi, Shinjuku-ku, Tokyo 162-8484 JAPAN

[email protected]://www.accu.or.jp/

Printed by Tokyo Colony, Oota Factory

May 2004 [800]

© Asia/Pacific Cultural Centre for UNESCO (ACCU), 2002


PREFACE

The Asia/Pacific Cultural Centre for UNESCO (ACCU) organised the 2004 Regional Meeting in Asia

and the Pacific on Promotion of Safeguarding Intangible Cultural Heritage from 26 February to 1 March

2004, in Osaka, Japan, jointly with Bunkacho (the Agency for Cultural Affairs, Japan) and the Japanese

National Commission for UNESCO, in collaboration with UNESCO and in cooperation with the Ministry

of Foreign Affairs of Japan.

Twenty-nine participants from twenty-seven countries, two resource persons, a representative from

Bunkacho, as well as three UNESCO representatives, took part in the Meeting.

One of the main purposes of the Meeting was to provide the cultural personnel in the region with an

opportunity to learn about UNESCO’s new initiative, the Convention for the Safeguarding of the Intangible

Cultural Heritage. The adoption of this Convention at the 32nd UNESCO General Conference in October

2003 was a significant step forward in the field of intangible cultural heritage (ICH).

The Meeting was also intended as a follow-up of the 2002 Regional Workshop in Asia and the Pacific

on Promotion of the “Proclamation of Masterpieces of the Oral and Intangible Heritage of Humanity,”

which was held in Tokyo in 2002. As another important element of the Meeting, ACCU strategies for

2004-2006 on ICH in the region were also actively discussed by the participants.

Through sharing the experience in relation to the Masterpieces programme and the success stories of

national endeavours in each country, this Meeting was also to grasp the issues common to the Asian

and the Pacific countries and seek means of practical cooperation.

In order to reflect local perspective to the Meeting, Osaka was chosen as the venue, rather than Tokyo.

Osaka has long been a commercial and popular city, and that helped develop the city’s distinct, humour-

loving culture. The city is also the home of the Ningyo Joruri Bunraku puppet theatre, which was listed

in the second Proclamation of the Masterpieces, November 2003.

We would like to express our sincere appreciation to all those involved in the Meeting, particularly the

National Bunraku Theatre, the Bunraku Association, Awaji Puppet Theatre and Nandan Junior High

School for their generous cooperation.

We wish this report to be useful not only to the participants, but also to those who did not have the

chance to attend the assembly, and that it will contribute to future regional and subregional cooperative

efforts to promote and to revitalise oral and intangible heritage.

SATO Kunio, Director-General

Asia/Pacific Cultural Centre for UNESCO (ACCU)



2004 ACCU Regional Meeting in Asia and the Pacific

on Promotion of Safeguarding Intangible Cultural Heritage(Osaka, Japan, 26 February - 1 March 2004)

Mr. Rieks SmeetsChief, Intangible Heritage SectionUNESCO

Mr. Sato KunioDirector-General, ACCU

At the Meeting


Group Discussions on Day 3

Presentation of 'Masterpieces'


Visit to the National Bunraku Theatre

Lecture-Demonstration by Bunraku artists

Backstage ateliers

Stage property maker

Puppet head repairer


Visit to the Awaji Puppet Theatre

(courtesy ofAwaji Puppet Theatre)

○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

Meeting the practitioners

Visit to Nandan Junior High School

Meeting the adviser and the stu-dents practsing Awaji NingyoJoruri as extracurricular activity

Field Visits


Visit to World Heritage Sites in Nara City

At Todaiji Temple

○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○


Masterpieces of the Oral and Intangible Heritage of Humanityfrom Asia and the Pacific (Second Proclamation, November 2003)

The Art of Akyns, Kyrgyz Epic Tellers (Kyrgyzstan) (courtesy of National Commission of the Kyrgyz Republic for UNESCO)

Wayang Puppet Theatre (Indonesia)(courtesy of Mr. R. Matsumoto)

The Art of Guqin Music (China)© Music Research Institute of Chinese Academy of Arts

Ningyo Joruri Bunraku Puppet Theatre (Japan)(courtesy of Bunkacho)

The Royal Ballet of Cambodia (Cambodia)(courtesy of Ministry of Culture and Fine Arts, Cambodia)


The Pansori Epic Chant (Rep. of Korea)(courtesy of Korean National Tourism Organisation)

The Traditional Music of Morin Khuur (Mongolia)© Rinchensonom Gombojav

Shashmaqom Music (Tajikistan, Uzbekistan)(courtesy of Tajikistan National Commission forUNESCO)

Nha Nhac, Vietnamese Court Music (Viet Nam)(Photo taken in late 1930s, courtesy of Dr. To Ngoc Thanh)

Vanuatu Sand Drawings (Vanuatu)© Vanuatu National Cultural Council



Table of Contents

Preface

Chapter 1 Final Report ....................................................................................151. Introduction

2. Background

3. Objectives

4. Proceedings

Appendix

Chapter 2 Presentations .................................................................................371. Keynote Speech - UNESCO:

On the Background, the interpretation and the Implementation of the

Convention for the Safeguarding of the Intangible Cultural Heritage

2. Keynote Speech - Bunkacho (Agency for Cultural Affairs, Japan):

Japanese Administrative System for Protection of ICH

3. ACCU’s Programmes and Vision for ICH Safeguarding

4. Resource Person’s Comments on the Second “Proclamation of Masterpieces of

the Oral and Intangible Heritage of Humanity”

5. UNESCO Bangkok Office:

Regional Perspective of UNESCO’s Programme of Intangible Cultural

Heritage

6. ACCU’s Strategies for Safeguarding of ICH in Asia and the Pacific

Chapter 3 Country Reports.............................................................................. 77Australia, Bangladesh, Bhutan, Cambodia, China, Fiji, India, Indonesia, Iran, Japan,

Kyrgyzstan, Lao PDR, Malaysia, Mongolia, Myanmar, Nepal, New Zealand, Pakistan,

Palau, Philippines, Rep. of Korea, Sri Lanka, Tajikistan, Thailand, Tonga, Uzbekistan,

Vanuatu, Viet Nam

Annexes ....................................................................................................................193Annex 1

1. Convention for the Safeguarding of the Intangible Cultural Heritage (adopted in

October 2003)

2. The List of Items in the Proclamation of the Masterpieces of the Oral and Intangible

Heritage of Humanity

Annex 21. General Information

2. Meeting Schedule

3. Opening Speeches

4. List of Participants



Chapter 1

Final Report1. Introduction

2. Background

3. Objectives

4. Proceedings



Chapter 1

17

1. Introduction

The Asia/Pacific Cultural Centre for UNESCO(ACCU), Bunkacho (Agency for Cultural Affairs ofJapan) and the Japanese National Commission forUNESCO jointly organised the 2004 ACCU RegionalMeeting in Asia and the Pacific on Promotion ofSafeguarding Intangible Cultural Heritage, incollaboration with UNESCO, and in cooperation withthe Ministry of Foreign Affairs. The Meeting washeld in Osaka, Japan, from 26 February to 1 March2004.

A total of twenty-nine participants from the twenty-seven countries listed below, two resource persons,one Bunkacho representative, three UNESCOrepresentatives and several observers attended theMeeting.Australia, Bangladesh, Bhutan, Cambodia, China,Fiji, India, Indonesia, Iran, Japan, Kyrgyzstan, LaoPDR, Malaysia, Mongolia, Myanmar, Nepal, NewZealand, Pakistan, Palau, Philippines, Republic ofKorea, Sri Lanka, Tajikistan, Thailand, Tonga,Uzbekistan and Viet Nam

Full list of the participants is given in ANNEX 2.

2. Background

- ACCU has implemented, in collaboration withexperts in the region, a number of regionalactivities for promotion of cultural heritage in theregion over the last two decades. Among others,it produced educational, promotional audio-visualmaterials on Asian and Pacific folk dances, folkfestivals, folk songs and musical instruments. Italso produced the “Data Bank on Traditional/FolkPerforming Arts in Asia and the Pacific – a BasicModel” in print and on-line versions, whichcomprises brief introductions of the performingarts and related organisations and the nationalpolicies in the field.

- As a part of its cultural personnel capacity-building, ACCU organised, jointly withUNESCO, the 2002 Regional Workshop in Asiaand the Pacific on Promotion of the “Proclamationof Masterpieces of the Oral and IntangibleHeritage of Humanity” (12 – 16 March 2002,Tokyo) to encourage future participation, as wellas to discuss effective use of the programme to

promote oral and intangible heritage in general.A large number of countries from Asia and thePacific, compared to other regions, submitted thecandidature files for the second Proclamation,which we consider an immediate successfulresults of the 2002 Regional Workshop.

- The Convention for the Safeguarding of theIntangible Cultural Heritage was adopted by the32nd session of UNESCO General Conference on17 October 2003.

3. Objectives

The objectives of the Meeting were:(1) To share the results of discussion on the

Convention for the Safeguarding of theIntangible Cultural Heritage at the 32 nd

UNESCO General Conference(2) To share the results of the second “Proclamation

of Masterpieces of the Oral and IntangibleHeritage of Humanity”

(3) To exchange information on the situation ofintangible cultural heritage (ICH) safeguarding:developments and follow-up activities after the2002 Regional Workshop on Promotion of the“Proclamation of Masterpieces.” (March 2002,Tokyo)

(4) To have understanding of common key issuesof safeguarding ICH in the region.

(5) To int roduce the Japanese system ofsafeguarding Intangible Cultural Properties.

(6) To discuss and consult on ACCU strategies inAsia and the Pacific and medium termprogrammes to be implemented in 2004-2008.

4. Proceedings

DAY 1 (Thursday, 26 February)

Chairperson: Dr. Jesus Peralta (Philippines)Rapporteur: Ms. Karen Gosling, (Australia)

Opening ProgrammeMr. Sato Kunio, Director General of ACCU, openedthe Meeting and welcomed participants to theMeeting. He reflected on the success of the 2002Workshop which was held in Tokyo and the impactthat Meeting had on raising awareness of theProclamation of Masterpieces of Oral and IntangibleHeritage programme.


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With the recent adoption of the Convention for theSafeguarding of the Intangible Cultural Heritage theACCU believes it is timely to consider how toprogress implementation of practical protectionstrategies and also to share expertise and advicewithin the region.

The Director General thanked UNESCO for theirsupport and cooperation in the organisation of thisMeeting.

Opening speeches were delivered also by Mr. RieksSmeets, Chief, Intangible Cultural Heritage Section,UNESCO, as well as by Mr. Suzuki Norio, Coun-cilor on Cultural Properties, representing Bunkacho.

After the initial welcome addresses, the participantsand staff members of ACCU were introduced.

Ms. Ohnuki Misako, Director of Culture Division ofACCU, then explained the 5-day programme, andoutlined three expected outcomes for the Meeting:1. Better understanding of the principles and

mechanisms of the Convention and to encourageratification;

2. Recognize the needs of countries and to identifyways to address these needs;

3. Share expertise and to establish networks.

Keynote Speeches 1: UNESCOThe 2003 Convention and Recent UNESCOActivities on ICHMr. Rieks Smeets of UNESCO delivered the firstkeynote address for the Meeting. He said thatUNESCO is particularly interested to learn from theparticipants and to hear their comments and questionsin relation to the 2003 Convention. He reported thatAlgeria was the first country to ratify the Convention.He thanked the Japanese authorities for their supportand encouragement of UNESCO’s work in thedomain of intangible cultural heritage. He advisedthe Meeting that UNESCO is planning to hold eightregional meetings within the next twelve months topromote the Convention.

He outlined briefly the history of the developmentof the Convention. He reminded participants that in1989 UNESCO issued a Recommendation on theSafeguarding of Traditional Culture and Folklorewhich was only recommendatory in nature ,notbinding. In 2001 the General Conference took thedecision to work towards a Convention, which was

adopted only 2 years later by the 32nd session of theGeneral Conference in 2003 with 120 countriesvoting in support of it, against 8 abstentions.

Mr. Smeets said the text of the Convention presentsa good compromise that can very well beimplemented. Many issues require, however, furtherdevelopment. A key issue in the near future will bethe election of the Committee for the safeguardingof the ICH as foreseen under Article 6 of theConvention, which will play a central role in thedevelopment of operational guidelines to addressissues concerning the in terpreta t ion andimplementation of the Convention, for instance:

- The definition of intangible cultural heritage willneed constant attention. As this form of culturalheritage is continually evolving and as its role andappreciation are not the same in all regions of theworld, it is important that the definition beinterpreted in an open and flexible way.

- There is the issue of language. Different viewswere expressed during the development of theConvention on whether language is to besafeguarded as such, or not, specifically given itsfundamental importance in the practice andtransmission of intangible cultural heritage.

- There were complicated discussions relating tothe issue of the Fund referred to in Article 26 ofthe Convention; the matter still has to beelaborated.

- The issue of authenticity will also requireexamination.

- Further discussions and examination will berequired to reach a shared understanding as to howto develop and maintain the Representative Listof the intangible heritage of humanity foreseenunder article 16 of the Convention and how toassure the integration of the Masterpieces into thatlist.

- Issues relating to human rights will have to bera ised as wel l as the i r impact on theimplementation of the Convention.

- The relation of this Convention to otherinternational instruments; related efforts in theIntellectual Property area by WIPO mayultimately yield an important instrument that willbe complementary to the 2003 Convention.

- The impact and potential of the Convention intourism is another area that will require muchconsideration and study.


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Mr. Smeets advised that UNESCO will ask expertsto already now develop ideas on these and similarissues and that their findings will be set forth in aseries of manuals. The first manual will deal withthe Convention in general terms and it is proposedthat there will be other manuals relating to specificdomains of intangible cultural heritage.

He said a priority for UNESCO would be obtainingearly ratification of the Convention by 30 MemberStates to enable it to come into force as soon aspossible. Early ratification enables countries to beinvolved in the Committee with operationalising theConvention.

Mr. Smeets reported to the Meeting that if theConvention comes into force before the end of 2005it is likely that the third Proclamation of Masterpieceswill be the last one, as this programme will beovertaken by the listing processes as set out in theConvention. There was some discussion about thisas some participants could see a valuable role for theMasterpieces programme along side the listingprocesses proposed by the Convention.

Keynote Speech 2: BunkachoJapanese Administration System for Protectionof ICHMr. SUZUKI Norio, Councilor on CulturalProperties, Bunkacho, also addressed the Meeting.He said that intangible cultural heritage is a sourceof identity for cultures and it represents the culturaldiversity of the world. Given the pressures onintangible heritage it was particularly important thatmeasures are taken to ensure that it is preserved forfuture generations. Japan is aiming for earlyratification of the Convention.

In 1950, Japan passed the Law for the Protection ofCultural Properties. He outlined in detail the Japaneseregime of legislative, financial and regulatory schemefor the protection of cultural properties. This isdefined very broadly to encompass folk traditionsand practices. However, Japan is currently lookingat amending this law to further broaden the definitionto cover folk skills and techniques.

He also mentioned some of the challenges for thefuture including the conservation and transmissionof intangible cultural heritage. This is a key reasonwhy addressing the issue of traditional and applied

skills was a priority.

There is also a need to guard against the traditionalarts being impacted on negatively for economicalreasons. The issue of authenticity is an importantone that needs to be considered, as this will ensurethe protection of cultural diversity.

The links between intangible cultural heritage andreligion is also important just as is the relationshipbetween the tangible and the intangible. The issueof relating the practice of intangible cultural heritageto the daily lives of communities and also tolandscape was something that should be considered.

ACCU PresentationACCU’s Programme and Vision for ICHSafeguardingAt the beginning of his speech, Mr. Sato, Director-General of ACCU suggested that the significance ofpreserving intangible cultural heritage is that itconnects us to living cultural heritage so that we cancommunicate with it and enrich our daily lives.

Mr. Sato then briefly reviewed the past ACCUactivities in the field of preservation of culturaldiversity and promotion of cultural heritage. Theactivities include: co-publication with some Asianand the Pacific countries of such materials as booksfor children on folk tales and various festivals in theregion; co-production of audiovisual materials ontraditional handicrafts, folk and traditional music, andfolk dances; sending mobile teams of experts for thedocumentation of intangible cultural heritage; andbuilding the Data Base on Traditional/FolkPerforming Arts.

He then presented his views on potential ACCUprogrammes to be implemented in the near future, inclose relation with on-going UNESCO developmentsin the field. He expressed his hope that theparticipants would actively discuss these issuesduring the Meeting in order to bring about concreteresults.

Introduction of the Asian and the PacificMasterpieces of the Second ProclamationThe Meeting received eleven country reports on theintangible heritage items which were listed in thesecond Proclamation of Masterpieces of the Oral andIntangible Heritage of Humanity, announced in


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November 2003. The presentations included videoshighlighting the candidatures for the MasterpiecesProgramme. These countries were: Cambodia (theRoyal Ballet); China (the Art of Gugin); Indonesia(Wayang); Japan (Ningyo Joruri Bunraku);Kyrgyzstan (Art of the Akyns); Mongolia (Traditionalmusic of the Morin Khuur); Republic of Korea(Pansori); Tonga (Lakalaka); Vanuatu (Sanddrawing); Viet Nam (Nha Nhac, Vietnamese CourtMusic) and Tajikistan/Uzbekistan (Shashmaqom asa unique genre of Traditional Music). There were anumber of key issues and common themes emergingfrom these presentations:1. In several instances the precise origin of the

practice was not known as they were very oldand handed down through the generations orally.

2. The selection had regard to the value of the artform as a living cultural tradition that was eitherin danger of being lost or indeed urgent actionplans had been implemented to revive andcapture the practice. In at least one instance therewas reference to the influence of politics in thefinal selection.

3. There was a strong theme that the proclamationhad raised awareness of the practice but also thebroader issue of, and challenges to, safeguardingthe intangible cultural heritage of the country.

4. A central point in the presentations was the needto engage young people in the practice ofintangible cultural heritage if these practices areto survive.

5. Many of the examples demonstrate the skill andexpertise of many artisans and performers –including musicians, performers, craftsmanshipin making instruments, costume makers,teachers.

6. Raising awareness and action plans areimportant but it was clear that supporting fundsto implement programmes was most important.

DAY 2 (Friday, 27 February)Chairperson:

Mr. Ralph Regenvanu, Resource Person(Vanuatu)

Rapporteurs:Ms. Fatemeh Farahani (Iran) -Morning sessionDr. Sangmee Bak (Rep. of Korea)

-Afternoon session

Introduction of the Asian and the PacificMasterpieces of the Second Proclamation

(Continued)The morning session started with the presentationby Dr. Sudha Gopalakrishnan (India) on oral traditionof the Vedas and the Vedic Heritage. Referring to thereasons, selection procedure of the four branches ofVedic chanting, difficulties faced with duringselection, she explained how the action plan will beimplemented through revitalization of Vedic chantingby establishing a large number of traditional schools;preservation of chants by organising refresher coursesand workshops; safeguarding through documentationand finally dissemination modalities.

She concluded her presentation by introducing theother forms of Intangible heritage considered forcandidature.

Resource person’s Comments on SecondProclamationMr. Ralph Regenvanu, a jury member of theProclamation programmeme, gave an informativepresentation referring to the List of ProclaimedMasterpieces, November 2003. Mentioning the over-representation of Asia and the Pacific (12 out of 28)he provided the participants with importantinformation regarding the reasons why 50% ofcandidatures were not approved by the Jury. Thefollowing main factors were mentioned: process-related (submission did not follow the criteria;practical expression was not accurately identified;candidature did not comply with the ideal ofUNESCO) and weakness of Action plan;(Transmission was not strongly emphasized, notenough involvement of practitioners in drafting andimplementing action plan, quality of video materialsand evidence of state commitment)

A few questions about multi-candidature file in caseswhere only one country is interested, compliance withUNESCO ideals, and the goal of Masterpieces, wereanswered by Mr. Smeets and Mr. Regenvanu.

UNESCO Bangkok Office Presentation:

Regional Perspective

Third presentation made by Ms. Beatrice Kaldun(consultant-culture) was about the role and theactivities of UNESCO Bangkok office. In statingthe fact that the intangible heritage can guide ustowards identification of a more comprehensivepreservation policy she pointed to the dynamic andcreative relationship between tangible and intangible


heritage. She then explained a few concrete examplesof Bangkok office’s activities in the three areas ofgrass-roots mobil izat ion, employment ofprofessionals and effecting policy change, creativityand development, as the three main lines of actionfor UNESCO in 2004/2005. Ms. Kaldun ended herpresentation by quoting from the UNESCO UniversalDeclaration on Cultural Diversity regarding thetangible/intangible heritage.

Discussion on the Convention for theSafeguarding the Intangible CulturalHeritageThis session was added specially because there wasnot enough time for Q & A after the UNESCO Key-note Speech on the previous day.

A number of major issues emerged during thediscussion session. These were as follows:

- Comments on multi-national files, and necessityof cooperation between countries sharing thesame form of cultural expression in a case whereit had been proclaimed. Since, once acandidature file is accepted as national, it cannot be changed to multi-national.

- Philosophy behind the Convention and the futureof the proclamation of masterpieces.

- Term of “representative list” instead of“Masterpieces” has to be elaborated since theConvention itself needs to be subjected to in-depth elaboration.

- Ill-defined term of “cultural space.”- Avoiding the nationalism trend in the domain of

intangible heritage.- Examples of the forms of cultural expressions

and practices shared between several countriessuch as nomadic civilization.

- Linkage between UNESCO Convention andWorld Intellectual Property Organization(WIPO) activities regarding intellectual property.

Country Report Sharing:case studies ofsuccessful programmes1. Heritage management including inventory

making presentations1) BhutanThe first country report was presented by Mr. LungtenGyatso from Bhutan regarding the launching of theproject to establish a National Inventory ofPerforming Arts in Bhutan, encompassing research,safeguarding and dissemination for 2001-2004, with

the financial assistance of Japan Funds-in-Trust andUNESCO Intangible Heritage Unit. The objectivesof the project described are training, raisingawareness, establishment of database and archiving.Then, he briefly introduced pamo, which as ritualand performance always performed by women.Pamo has three parts, Khandro Dakam, ChesungTangra and Shakpa. A brief summary of the activitiessuccessfully implemented was presented includingfieldwork, contacts between local communities anddocumentation of some of the vulnerable practices.

2) JapanMr. Miyata Shigeyuki presented a case study of thepreservation of a folk performing arts in Japan,Ayako-mai. He briefly outlined Ayako-mai as folkperforming art, the preservation of Kabuki in its earlycontemporary form, which was selected as anIntangible Cultural Property in 1970 and as a nationalimportant intangible folk performing art in 1976.Then, he explained the process of preservation of theAyako-mai, role of local government in itspreservation, and also training programme for itstransmission. He mentioned that with digitaltechnology one can expect recording anddocumentation to be highly effective tools intransmission of folk performing arts. He concludedhis presentation by mentioning the two fundamentalprinciples of cooperation and trust betweenperformers, scholars, government and programmeparticipants for presentation of intangible culturalproperties.

3) PhilippinesThe third country report was presented by Dr. JesusT. Peralta from Philippine. Regarding the subsequentdevelopment of the proclamation of the Ifugao epicchant, Hudhud, he explained the process oflegislation, organisation of third Hudhud epicchanting competition, production of a full-lengthcontemporary drama based on Hudhud, radio and TVprogrammes. Then he continued his presentation byreporting the heritage management: identification,documentation, inventory making. Regarding theparticipation of the local community in the Hudhudcase, he mentioned the formation of a localorganisation: Ifugao Intangible Cultural HeritageSub-Committee” comprising known experts, keycommunity members and governor. He also pointedout weaknesses and lapses in the Hudhud programmeand some general problems and emphasized theauthentic form of Hudhud.


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4) Republic of KoreaFourth and last presentation of the morning sessionwas made by Dr. Sangmee Bek from Republic ofKorea. She started with two items of intangibleheritage from Korea, Jongmyo Jerye and Pansoriproclaimed as the masterpieces of The Oral andIntangible Cultural Heritage of Humanity in 2001and 2003 and plans for future candidature. Then,she proceeded to describe the Korean system ofpreserving and promoting intangible culturalproperties, referring to the cultural properties asnaturally or artificially created heritage of nations,people and the world having high historic, academic,and appreciative values and classified into fourcategories of tangible, intangible, monuments andfolklore materials. In regard to the intangible culturalproperties, she described modalities for transmissionof intangible knowledge and skills (through subsidiesand education, supporting the public performances,building inheritance halls… etc) and governmentbodies responsible for intangible cultural properties.(Cultural Properties Committee, Cultural PropertiesAdministration.) She ended her presentation byintroducing the method of designating importantintangible cultural properties in Korea.

[Afternoon session]In the afternoon of February 27, there were 5sessions on country report sharing: sharingsuccessful stories.

2. Obligations and rights of state partiesMongoliaDr. Norov Urtnasan from Mongolia presented onthe government’s effort to promote intangiblecultural heritage, and emphasized the importanceof effective collaboration among various ministriesand agencies in the country.

3. Public Awareness Raising1) New ZealandMr. Brian Pauling from New Zealand talked aboutthe role of radio broadcasting in promoting theintangible heritage. Public radio broadcastingfunded by “New Zealand on Air” has been pivotalin promoting diverse intangible cultural heritage ofminority groups. Media can also play an importantrole in record-keeping of the volatile intangiblecultural heritage. Interactive broadcasting has agood potential to work as a medium for heritage

transmission as well.

2) VanuatuIn the same session, Mr. Regenvanu of Vanuatureported on his country’s “Fieldworker ’sProgramme” in which villagers were recruited ascollectors of information on intangible culturalheritage. Vanuatu’s unique history enabled thefieldworkers to work with high level of motivation.In the following discussion session, the implicationsof Vanuatu’s nation-building on its heritages werealso discussed.

4. Reviving Once-endangered Heritage1) CambodiaCambodia was the first presenter. Mr. Hang Sothpresented on how Cambodia’s Royal Ballet wasrevived after 90% of the artists and performers hadbeen killed during the political upheaval in the1970s. Reflecting Cambodian people’s religiosityand spirituality, the Royal Ballet was revived bythe concerted effort of the performers andCambodian people in the 1990s.

Following Mr. Soth’s report on Cambodian case,there was an extensive discussion on how intangiblecultural heritage is destroyed. The most obviousway would be killing the skill holders of theintangible heritage. But Mr. Smeets of UNESCOenumerated other means of destroying the heritage.They are: 1) state’s forbidding of the heritage, 2)through formal education system where nationallanguage is promoted at the expense of locallanguages, 3) through mass media, foreign culturefloods in, 4) foreign religion is introduced, anddamages local religious traditions, and 5) throughexaggerated nation-building process. Mr. Smeetsmentioned that UNESCO not only promotescultural diversity among the states, but that theintroduction of standardized education systemthrough globalization process may also harmindigenous intangible cultural heritage.

2) FijiMr. Sipiriano Nemani of Fiji introduced its “CulturalMapping Project” as a way of reviving Fijiancultural identity. The three steps introduced were:1) awareness raising, 2) having communityactivities, and 3) evaluation and documentation.

3) IndonesiaDr. Meutia Swasono from Indonesia introduced its


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Bhutan talked about the fact that elders – the tradition-holders – often are not ready and/or willing to pass on– transmit - traditional knowledge. Often they requirespecial conditions to be met before they will transmitknowledge. Sometimes this is advice from a deity (thecase Bhutan talked about), but it can also be thattraditionally they require symbolic payment for thisknowledge (as in Vanuatu). While we often talk aboutyoung people not being interested in learning traditionalknowledge, we must not forget that transmissioninvolves two parties – the giver of the knowledge aswell as the receiver. As policy-makers we need to alsofacilitate or provide the conditions to enable tradition-holders to be ready and willing to pass on theirknowledge.

Japan raised the issue of the importance of building arelationship of trust between the practitionercommunity and the institution or the researcher.Building this relationship of trust between thepractitioner community and the cultural heritagemanagement institution (the policy-makers) and/or theresearchers is crucial to be able to properly deal withICH, in a manner that actively involves and engagesthe practitioners themselves (as is required by the newConvention).

The Philippines made a very useful and important point– that the term cultural space should be defined by thedifferent cultures that wish to use it themselves. Theother categories of ICH are clearer and easier tounderstand, but if an element of ICH does not properlyfit under another term, the cultures themselves candecide to use the broader term cultural space and defineit as they wish.

Both Korea and Vanuatu talked of the primaryimportance of raising the awareness of the tradition-bearers themselves of the value of their own ICH andthe need to transmit it. The tradition-bearers orpractitioners are often the most important target forawareness-raising activities as they themselves aredirectly responsible for ensuring that transmissionactually takes place. Korea talked of the need topersuade the tradition-bearers of the value of their ownICH and the need to transmit it, and Vanuatu talked ofinstitutions working closely with representatives of thecommunities themselves as a way to achieve this.

New Zealand spoke of radio as an important tool forrecording and demonstrating elements of the ICH, aswell as raising the awareness of the general public.

There was a long discussion about re-activating orrevitalizing the ICH. Cambodia gave a very good casestudy of this (the Royal Ballet) and Fiji talked of theuse of workshops as an important tool to re-invigoratecertain forms of ICH. Mr Smeets listed a number ofthe factors that can contribute to the endangerment ofICH, which include the commercialised/American-isedmass media, non-inclusive/sensitised formal educationsystems, ill-advised government policy, improperly-managed tourism, and so on.

Indonesia talked about a tangible object (the keris) as aconcentration of the ICH. This point was also made byFiji in relation to the bure. The important issue raisedhere is the conditions or circumstances in which atangible material object can be seen to be an expressionof a living and vital intangible cultural tradition - whencan a tangible object be so important for the enactmentof intangible rituals, practices, knowledge and skillsby a community that the object itself becomes a keyand indispensable component of the ICH?

Palau talked about the role of the formal educationsystem in facilitating and promoting the transmissionof ICH, using examples of transcribed oral traditionsbeing used by students as texts and of elders beingbrought into the classroom to teach traditional skills.This presentation raised the possibility of the formaleducation system – all too often a factor contributingto the endangerment of the ICH – being used instead tofacilitate its transmission.

Palau also talked about copyright legislation beingenacted and used to protect elements of the ICH.

Iran, the final country presentation, spoke of therelationship between tourism and the safeguarding ofthe ICH. Uncontrolled tourism is a factor that canendanger the ICH, as has been demonstrated with thetangible cultural heritage in the World HeritageConvention. With the Proclamation of Masterpiecesprogram, it is also very likely that proclaimedmasterpieces will be subject to increasing attention fromthe tourism industry, which raises real risks of distortionand “folklorisation” for the element of ICH concerned.Iran spoke of one solution to this problem as awareness-raising among the tourists themselves - the promotionof ‘respectful’ tourism through the establishment of acode of conduct for tourists, for example.

Iran also raised the issue of the important role playedby physical cultural spaces (in this case, a town) inenabling or facilitating the enactment and transmissionof ICH.

Chairperson‘s summary of discussions, Day 2(Mr. Ralph Regenvanu, Resource Person/Vanuatu)


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effort on reviving the making of keris, which issaturated with meanings and symbolism that areimportant to the Indonesians.

5. Intangible Heritage in EducationPalauMr. Howard Charles from Palau introduced thecountry’s efforts to incorporate cultural heritageeducation into its education system. Palau urgentlyneeds to document and record its musical tradition.

6. Cultural Heritage and TourismIranCultural heritage and tourism was the topic of thelast session in the afternoon, and Ms. FatemehFarahani of Iran presented her country’s case of avillage which attracts about 2 million touristsannually with its cultural heritage. She explainedthe village’s efforts to avoid mass tourism, whilepursuing cultural tourism and natural landscape.

Discussion: overview of issues common to theAsian and the Pacific countriesIn the following discussion session on the topicscovered in the afternoon, dealing with sacredknowledge as intangible cultural heritage wasextensively discussed. The consensus was that theresearchers and the governments should respect theopinions and feelings of the skill/knowledgeholders. No knowledge should be forcefully orunethically obtained. This issue can be even morecomplicated when commercial gain is involved withthe cultural skill/knowledge.

Involving local/indigenous communities in dealingwith their cultural heritage was mentioned as essentialby several participants including Australia andBhutan. Malaysia introduced her country’sprogramme of “National Artwork” where they inviteartists for one year to transmit the skills. When acountry lacks the financial resources to give life-longsalary to the skill-holders, the Malaysia programmemay be a good substitute

DAY 3 (Saturday, 28 February)Chairperson: Mr. Yamaguti OsamuRapporteur: Dr. Sudha Gopalakrishnan

ACCU Report presentationStrategies for Safeguarding ICH in Asia and thePacific

The morning of Day 3 was devoted to a discussionon strategic planning for charting out the futureactivities of ACCU with reference to ICH.

The Session opened with a Report Presentation byMs. Ohnuki, Director, Culture Division of ACCU.The presentation dwelt on a review of ACCUactivities in the field of safeguarding and promotionof ICH since 1970s. The activities for the Asia andthe Pacific regions relating to intangible culturepertain to training personnel, documentation anddissemination, networking with partner institutionsthrough organisation of seminars, (the mostsignificant of them being that on the Proclamationof Masterpieces of the Oral and Intangible Heritageorganized in Tokyo in March 2002 after theannouncement of the first Proclamation byUNESCO) and the development of a Databank onTraditional/folk Performing Arts in Asia and thePacific. Other programmes include those oneducation, production of children’s books andanimation films on folk tales collected by differentcountries in the Asia-Pacific region.

The next part of the presentation explored new areasof interventions for the safeguarding and protectionof ICH in the Asia and the Pacific region for the nextof term of 2004-2006. The opinions of all participantswere elicited to find out what practically orientedprogrammes can be engaged in by ACCU. To givemore focus to the discussions, the members weredivided into five sub-groups, namely,

1. Material development2. Heritage management3. Documentation4. Data bank and5. Other new programmes

First all the participants were requested to form ideason any of these specific topics, and write down oneidea each on 5 small pieces of paper. Then they werecollected and thematically documented.

Group DiscussionAs a next step, the members were divided into fivegroups and each group headed by a facilitator wasasked to take up discussions separately on the themeassigned to it. The opinions generated in this mannerwere gathered into a common pool of ideas. Thegist of the ideas generated by each group is as follows:(See Appendix of this chapter for the detailed.)


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1. Material developmentIt was agreed that material development would relateto areas having more participatory activities frommore countries, having clear- cut publication oncopyright issues for better development of material,training by mobile teams and organisation of moreworkshops on material development.

2. Heritage managementThe forum discussed such key areas of heritagemanagement as awareness raising, advocacy andfunding sources for the management of ICH. Themeans and know-how of heritage managementshould be shared and workshops on cultural policyshould be organized on a wide basis. Each countryshould be sensitised to manage its heritage throughworking out norms on cultural policy.

3. DocumentationThe group discussed aspects of heritage that need tobe documented urgently which include vulnerableand endangered items of ICH. Training in skills andtechniques of documentation are an urgent necessity.Recording through audio-visual media, establishingdata bank for storage and retrieval, setting up ofdocumentation labs and archives, bringing outjournals and newsletters, and updating of currentACCU material are all vital aspects of documentation.

4. DatabankThe group discussed the development of a morethorough cultural mapping, generation of morematerial on ICH through new documentation andupdating of existing data, strengthening legalparameters, country-wise representation on data, andfocus on marginalized countries. One suggestion wasto develop a comprehensive history of dance, whileanother one was to extend the scope of the alreadyexisting databank, to include all aspects of ICH.

5. New IdeasNew ideas for ACCU which were discussed in theMeeting include awareness-raising on ICH forschool-children, revitalization of endangeredlanguages, promotion of awareness on copyrightissues, training for ICT programmes, promotion ofresearch, exploration of linkages between tangibleand intangible culture, promotion of cultural tourism,research on cultural industries and organisation offield studies and tours on identifying and studyingICH. There was also a suggestion to include CentralAsia within the ambit of ACCU.

All the themes were discussed in the plenary sessionwhich followed.Pakistan suggested that 2005 may be declared as theyear of ICH. It was suggested and generally agreedthat ACCU should take a leadership role in training,documentation, heri tage management anddissemination.Palau suggested that the next meeting should bedevoted to the issue of copyright. Australia invitedthe attention of all participants to the imminentFestival of Pacific Arts 2004 (22-31 July 2004),which will be held in Palau. The UNESCO Bangkokoffice reminded the group about the sharing ofresponsibilities concerning funding for severalactivities on ICH.

The Chairperson congratulated the participants of theSession for the ideas generated and for theenthusiastic support of the proceedings.

Visit to the National Bunraku TheatreIn the afternoon, the participants took the subwayand visited the National Bunraku Theatre. Afterbriefly observing the auditorium of the main theatre,the group moved on to the small theatre, where, Mr.Goto Shizuo of the Bunraku Theatre gave a lectureon the training system of Bunraku artists.

Mr. Goto explained that Bunraku was on the vergeof disappearance during and after the World War II.They lost many performers and future successorsbecause of the conscription, and the number ofaudiences and Bunraku lovers decreased after the warwhen the society was in confusion, the economy wasdevastated and new kinds of entertainment wereintroduced to Japanese society.

In 1963, Mr. Goto said, the central government,Osaka Prefecture and Osaka City and NHKcollaborated and formed a new body for maintainingBunraku which worked to revive it. In 1966, the firstnational theatre was established in Tokyo, and itsactivities included courses for training traditionalperforming arts successors. They began the trainingcourse for Bunraku performers in 1972.

Today trainees are gathered through public postingfrom among boys aged between 15 and 23. Thetrainees go through a total of 1,000 hours of trainingin two years and study physical training and exercises,dance, and each of the three artforms of Bunraku:


26

narrating, Shamisen playing and puppetry. Asinstructors, high level leading performers, includingso-called National Living Treasures, come and teachthem. At that time, there were only two trainees, andthey were due to graduate in March 2004. Includingthose two, 41 out of 90 Bunraku artists active todayare the graduates of these training courses. Had therenot been such training courses, Bunraku might havedisappeared long ago. In that sense, the trainingcourses have been very significant for all of usconcerned.

Then, lecture-demonstrations on performing Bunrakuwere given by the artists of the three components ofBunraku performance, one by one. For Tayu, narrator,Mr. Takemoto Mojihisadayu; for Shamisen player,Mr. Nozawa Kiichiro; and for the Ningyo tsukai, orpuppeteers, Mr. Yoshida Kosuke, Mr. YoshidaTamase and Mr. Yoshida Koji, showed theirtechniques and explained the training methods etc.

After the lecture-demonstrations, the group went onand visited the puppet maintenance studios locatedback stage. These were dress making/maintainingroom, puppet head maintaining and hairdressingroom, and stage properties room, where theparticipants met the craftspersons and listened to theirexplanations.

Day 4 (Sunday, 29 February)Field visits

Group A: Awaji Ningyo Joruri observation (AwajiIsland, Hyogo Prefecture)

Group B: World Heritage Sites & Bunraku (NaraPrefecture)

The participants were divided into two groupsaccording to their choices.

[Group A]For an example of intangible heritage beingtransmitted and sustained mainly by local people’sefforts, Group A visited Awaji Puppet Theatre(Awaji Ningyo Joruri) and Nandan Junior HighSchool. The Awaji Puppet Theatre troupe is run in aunique way: the performers and staff members havethe status of local government employees, so that thegroup can operate with stability.

Group A visited their permanent theatre, where theygive 8 performances a day all year around, and met

the practitioners. Mr. Umazume Yu explained aboutthe history of the theatre and how they managed tohave revived and transmit the traditional arts throughdifficult times. The group also met with Ms.Tsuruzawa Tomoji, National Living Treasure ofShamisen (string instrument), who has devotedherself to transmission of the arts to youngergenerations.

At Nandan Junior High School, the group observedthe students of the Traditional Art Club practising,talked to the students and the leader, and exchangedexperiences.

[Group B]In the morning, Group B visited UNESCO WorldHeritage sites in Nara City, an ancient capital ofJapan in the 8th Century A.D. Todaiji Temple is hometo the famous giant Buddha statue. The group alsovisited Kasuga Taisha Shrine.

In the afternoon, Group B watched an actualBunraku performance in Ikoma City auditorium.It was the first stop of their one-month nation-widetour. The pieces were called Ehon-Taikoki (TheTycoon’s Rise to Power) and Tsuri-onna (Fishingfor Wives).

DAY 5 (Monday, 1 March)Chairperson: Mr. Yamaguti OsamuRapporteur: Mr. Brian Pauling

The Meeting continued at 9.30am with the chaircalling for brief reports on the field trips taken thepreceding day (Day 4, Sunday).

Sharing Field Visits ObservationsMs. Noorsiah Sabri (Malaysia) reported on the fieldtrip to Awaji to see a performance by the Awaji PuppetTheatre, meet with tradition bearers and visit NandanJunior High School.

The visit raised for many all of the questions that area challenge to us as we wrestle with how best topreserve and safeguard Intangible Cultural Heritage.The outstanding performances, the professionalismand skills of the puppeteers and the wealth ofinformation provided in the question and answersession all highlighted an invaluable cultural assetand the need to preserve such outstanding examples.


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The visit also encouraged participants to continuework on these issues when ‘we return home’.

The visit to Nandan Junior High School to see thework of the Ningyo Joruri Club was also rewarding.It demonstrated how a voluntary club can do valuablework by students, staff and parents cooperatingtogether. There was a sense that everyone was hardworking, patient and passionate. The students in thisvoluntary club appeared to have a ‘real feeling’ forwhat they were doing. A highlight of this tour wasthe opportunity to meet with a ‘living nationaltreasure’.

Mr Sipiriano Nemani (Fiji) began his report on thevisits by the second group by thanking the ACCUstaff for the organisation and the wonderful receptionparticularly by the people of the city of Ikoma. Thiswas warmly applauded. He then went on to brieflyexplain the history of the World Heritage sites inNara, explain the different architectural stylesbetween the Buddhist Todaiji Temple and the ShintoKasuga Taisha Shrine and reflect on the contrastbetween attitudes to heritage in his own country withthat of Japan. He then reported on the visit to theBunraku performance in the auditorium in IkomaCity. It was, he said, an extraordinary experience andone never to be forgotten. The performance, giventhe large number of young people in the audience,demonstrated how these ancient cultural skills arebeing preserved and the ideas handed down to thenext generation. He said that the group was mostfortunate to see outstanding examples of tangible andintangible heritage.

In thanking the reporters the Chairperson said thatall together the groups would have enjoyed a broadexperience of the work being carried out in thepreservation and safeguarding of both tangible andintangible heritage in Japan.

Country Report PresentationsAmong the countries which did not have an occasionto present their reports, those who wished to makeone were invited to do so. Two further country reportswere presented.

Myanmar (Ms. Khin Hla Htay)A Ministry of Culture was established in Myanmarin 1952 and the policy of the Department is ‘to loveand cherish the country and the people by taking pridein our good traditions as well as by preserving,

exposing and propagating Myanmar culturalheritage.’ The Fine Arts Department encourages workin three categories, arts, archaeology and culturalinstitutes. Prominent organisations include MyanmarTheatrical Association and the Myanmar MusicAssociation. There is also legislation to protect andpreserve cultural heritage. In schools there are three-year programmes in lower, middle and highereducation curriculums and there is encouragementfor performance arts competitions and culturalexchanges with foreign countries. Visualpresentations of drum circle, brass circle, dancing,puppetry, painting, traditional arts, contemporary artsand sculpture were presented to the Meeting.

Pakistan (Mr Muhammad Ayub Baluch)This presentation began with a plea for the valuingof all intangible cultural heritages and for greaterefforts to be put into preserving and safeguarding.Pakistan is immensely important in the history ofhuman cultural development being the cradle of twocivilisations that are 5000 years Moenjodaro (Indus)and 9000 years Mehrgarh (Balochistan) oldrespectively. Human settlement and domesticationbegan early in Pakistan as well as animal husbandry(the bull) and pasture growing. It was important toinclude nomadic ways of life in the intangibleheritage preservation programme. A visualpresentation showing some of the traditional nomadicways and the physical environment in which theyare practiced followed.

The Chair thanked the presenters and then focusedthe attention of the Meeting on the last two agendaitems on the future of ACCU activities on ICH andregional activities for safeguarding ICH.

(At this point the reports of the preceding days’activities were reviewed and a number of correctionsmade.)

Final Discussion: Regional Activities forSafeguarding ICHMs. Gosling (Australia) sought clarification as towhether the reports were summaries rather than amore expansive coverage and that was confirmed.

In introducing the discussion the Chair suggested thatthe Meeting focus on a limited number of importantissues so that progress could be achieved. He feltthat the lists provided by the groups Meeting on Day3 were too expansive for detailed discussion.


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Mr. Regenvanu from Vanuatu suggested that therebe a focus on heritage management and on education.Workshops could be offered that brought togetherheritage managers and practitioners to collectivelyform policy to safeguard ICH. He expressed theimportance of such practitioners having Englishlanguage competence to participate in such aworkshop. He further suggested that there was a needto have people with responsibility for educationcurriculum to be sensitised to the problems ofpreserving and safeguarding ICH. Workshops thatincluded educators should be considered a priority.Mr. Gyatso (Bhutan) said that education was indanger of removing culture from the schoolcurriculum as pressures for more ‘modern’ skills suchas ICT mount. Workshops on shared experiences andcase studies were also suggested.

Mr. Baluch (Pakistan) responded with a range ofsuggestions including supporting the development ofsuccessful case studies for other countries to studyand the establishment of an Alumni register or allparticipants at workshops on ICH.

Ms. Kaldun of UNESCO Bangkok Office said thatUNESCO recognised that it was not doing enoughand needed to strengthen work in ICH. The Art inEducation programmes were mentioned as a possiblemodel to follow. This programme had a large globalnetwork on arts education with a lot of Asiancountries participating. A meeting is arranged everytwo years. It has moved away from just the Europeanstyle of art and does a lot of work with local, regionaland other traditions emphasising cultural diversityand indigenous art.

Dr. To (Vietnam) suggested that a workshop onpromoting living human heritage be arranged. Theyare developing a programme at present and arelooking and creating such status positions as Masterof Folklore but they are concerned about the properway to go about identifying and locating such people.How much should be paid? Should selection be on aregional or national basis? What about copyrightissues and the role the WIPO could play in assistingUNESCO?

Mr. Regenvanu, Vanuatu, responded that this problemwas similar to the previously mentioned need to geteducation policy makers on board and Australia saidthis highlighted the need to look in more depth at

such issues as criteria, methodology, assessment andmeasurement to assist in the right decision making.Support for a workshop on these issues wasimportant.

Republic of Korea, Japan, Malaysia, Thailand,Philippines all have existing programmes for LivingNational Treasures, and India has something similarthough not linked with UNESCO. Indeed thePhilippines has two sets – living treasures andnational artists (as in the field of visual andperforming arts) and they get a stipend. Japanprovides such people with resources including astipend but it is all tied in to successful preservationand passing down of knowledge and skills. Ms. Zhaofrom China reported they do not have a nationalscheme but they do in some provinces where anumber if minority groups reside. It is similar to theLiving National Treasures programme but there aresome differences. China could benefit from moreinformation on other programmes to supplement theirprovincial programme. Korea reported that manycountries have these systems but the need is to lookat how we need to compare approaches to ensuringtransmission and combating against the globalisationand can learn from each other.

Mr. Urtnasan (Mongolia) requested a workshop onICH with specific mention of the nomadic life andpasture and animal husbandry and also the linksbetween tangible and intangible. Ms. Taufa of Tongasupported a formal education workshop and indicatedthat Tongan Studies is compulsory in the schools.India requested recognition and support for NGOsworking in ICH. China’s National Academy of FineArts had an Intangible Cultural Heritage Centre anduniversities have expanded courses to include ICHand arts expressions. One day is declared a Day ofIntangible Cultural Heritage and China is on the vergeof introducing into High Schools.

Ms. Ohnuki of ACCU explained its new programmeon copyright issues. Interpretations vary from countryto country and some have very inadequateprotections. ACCU will publish a handbook in Juneand then seminars will be held intensively to get thispublication translated and widely distributed. Alsothe databank is out of date. ACCU is calling forresubmission of existing data and new data for arevised version by April 15, 2004 and encouragedthose countries not yet listed to also submit.


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Mr. Sato, Director-General of ACCU said that manycountries had been stimulated by the Proclamationof Masterpieces programme. The last opportunity tosubmit is coming and the future of the programmeneeds to be looked at. ‘What can we do after this?’he asked. The Chair hoped that UNESCO will revivethe programme in a new format that will bemeaningful for the future.

The chairperson asked China to tell what they aredoing in the Proclamation of Masterpieces. TheProclamation was well received in China. Manypeople and organisations were doing such work butthe Proclamation brought their work into publicawareness. China is working on improving formalprocedures to make the process better. There areproblems with China’s vastness and the managementof the programme on such a scale.

The Chairperson asked for people who had notspoken to speak. Ms. Sun from China spoke and wastranslated. She had been involved with culture fortwo years and recently conducted a general surveyof folk arts in China and is carrying out a study ontraditional arts and traditional expressions. Ten siteshave been designated as possible candidates for ICHprotection, from four different provinces. China ismoving to its third proclamation candidature. LaoPDR said that a lot had been got from this Meeting.His country is rich in tradition and culture and hehopes that his report to the Ministry of Culture willencourage a project to be submitted for considerationas a Masterpiece. Bangladesh saw the need to firstmake an inventory and then the next step was todevelop a programme to protect listed items. Shehopes to work with UNESCO and national ministryto establish a programme. Sri Lanka said that schoolsand other organisations were culturally active andthat cultural centres were working towards a Festivalof Dance supported by the Ministry of Culture. Nepalis finalising a draft cultural policy. The ministryresponsible is a composite ministry having theportfolios of tourism and civil aviation as well. Aninventory will be completed, copyright legislationenacted and a national folklore museum established.

Australia is working on copyright issues especiallythe concepts of ‘moral right’ community ownershipand attribution in maintaining the integrity of ICHand preventing distortion for such things as tourism.Offers were made to assist ACCU and UNESCO withthese matters. Bhutan said that education was a major

concern of this Meeting and asked how ACCU couldhelp bring governments to accept responsibility forputting cultural heritage into the curriculum. Indiainformed the floor that the Government of India hadannounced the establishment of a NationalCommission for Intangible Cultural Heritage.Indonesia mentioned a recently held exhibition onWayang, which is from Hindu. She said that Wayangwas used as a medium to spread the Islam religionon early period and had the tasks of movingknowledge from the ethnic level to the national level.

Closing CeremonyMs. Kaldun spoke on behalf of UNESCO saying thatthe Meeting has shown that our region is a rich cultureand tradition and reinforced the need for a strong pushin the region to ratify the Convention. She was happyto hear about the strong interest in the many countriesrepresented at this Meeting to move towards furtherProclamations. She will take back to UNESCOBangkok Office the concerns of the Meeting,especially those expressed in this final session.

Mr. Sato, Director-General of ACCU, said that hewas ‘sad to say goodbye to everybody’. He felt theMeeting was a foundation upon which we can buildan interest in safeguarding ICH. He will take onboardthe requests for workshops on specific topics on ICH.ACCU was very grateful for advice and suggestedsolutions on future activities. He was happy to engagein national as well as regional workshops whencountries are ready to do so.He called on us prioritise our programmes in responseto various countries’ budgetary constraints. He willstay in contact to ensure that this group remainsactive.

Mr. Jesus Peralta (Philippines) and Mr. HowardCharles (Palau) thanked ACCU on behalf ofparticipants. The Meeting ended at 1.30pm.


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Group1: Material Development

Members:Ms. Sun Lingping (China)Mr. Thongbay Phothisane (Lao PDR)Mr. Muhammad Ayub Baluch (Pakistan)Dr. Jesus T. Peralta (Philippines)Ms. Tupou ‘Ulu’ave Taufa (Tonga)Ms. Beatrice Kaldun (UNESCO Bangkok Office)Ms. Zhao Weiying (China) - Facilitator

Due to time constraints, no new proposals were madeby group members. The discussion time was exploitedto sort out the thirty or so ideas written on stickers byparticipants. Those proposals were categorized as: 1)contents, 2) type of materials, 3) distribution, 4) targetgroups.

1) Contents:Masterpieces proclaimed by UNESCOFolk Tradition / KnowledgeIntangible Cultural HeritageMyths & FestivalsScientific Method of Documentation

Specific requirements were the development ofmaterials on musical instruments, on local languageversion from Mongolia, and on dance and dancetechniques from Sri Lanka.

2) Type of MaterialPrint, CD-ROM, Video, DVD, Handbook, Booklet,Radio programmes

ACCU is requested to assist in the training of personnel& capacity building regarding the implementation ofthe above two aspects.

3) Distribution ChannelsGovernment agencies, media, website, trade fair, radio.ACCU should assist the dissemination of UNESCOConvention for the Safeguarding of the IntangibleCultural Heritage.

4) Target GroupsYoung generation, Teachers and Students, Adults,Administrators

Group2 Heritage Management

Members:Ms. Karen Gosling (Australia)Dr. Meutia Farida Hatta Swasono (Indonesia)Ms. Fatemeh Farahani (Iran)Mr. Higuchi Kazuhiro (Japan)Mr. Shanker Prasad Koirala (Nepal)Mr. Suzuki Yoshimori (ACCU)Mr. Lunten Gyatso (Bhutan) - Facilitator

Programmes1) Conduction of Workshops2) Awareness Raising3) Funding Sources

1) Condition of workshopConduct regional, sub-regional & national

workshops on the following topics.Endangered Cultural HerirageProtection mechanismDefinition of ICH & its linkage with tangible

heritageHeritage management linked with tourismRegional & sub-regional networking system

2) Awareness RaisingInvolve stakeholders, NGOs, educationists,

governments

3) Funding Sources: UNESCO, ACCU, Member StateFunding – UNESCO, ACCU, Member State

Group 3 DocumentationMembers:Ms. Shaheen Akhtar (Bangladesh)Prof. Hang Soth (Cambodia)Mr. Sipiriano Ranuku Nemani (Fiji)Mr. Brian Pauling (New Zealand)Mr. Yamaguti Osamu (Resource Person, Japan)Mr. Haraikawa Keisuke (ACCU)Dr. Sudha Gopalakrishnan (India) - Facilitator

The group unanimously urged ACCU to take up aleadership role in developing a suitable database onICH. The database should be comprehensive and user-friendly, with sufficient provision for retrieval,

1. Group Discussion results (DAY 3)

Appendix


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metadata, search engines, access etc. This should serveas a suitable model for national efforts in respectivecountries.

Naturally, issues of inventory-making came up. Hereagain, ACCU should lead the way not only in terms ofdeveloping inventory, but for facilitating training to suchcountries who do not yet have one, or have not startedone yet. Countries like Bangladesh, and India soughtadvice on this front, and exchange of expertise oninventory-making.

Regarding training of personnel on documentation, itwas suggested that the most vulnerable aspects ofheritage should be prioritized for documentation.Bangladesh requested for intensive training on skillspertaining to documentation. It was suggested that athree-pronged strategy may be followed on training:(1) sensitising custodians of heritage on the value ofdocumentation. (2) sensitising decision-makers on whatis to be saved (3) technical training on documentationskills.

Archiving being an important aspect of training, effortsshould be directed towards training personnel andestablishing good storage and disseminationinfrastructure through proper archiving methods.ACCU-UNESCO network should take an active rolein establishing good archival system throughout thecountries. The policy for sharing of such documenteddata should be properly worked out, to avoid laterpitfalls.

Since archiving is all about dissemination andmaximising access to information, there should besufficient caution though enabling IPR policies. Issuessuch as copyright, and intellectual property rights shouldbe well-clarified.

To sum up, the discussion which was held in an openmanner, elicited good response from the participantsof the group and generated well-focused ideas.

Group 4 Data BankMembers:Ms. Aziza Okeyeva (Kyrgyzstan)Ms. Norov Urtnasan (Mongolia)Ms. Khin Hla Htay (Myanmar)Ms. R. W. G. Waidyawathie (Sri Lanka)Dr. To Ngoc Thanh (Viet Nam)Mr. Ralph Regenvanu (Resource Person, Vanuatu)Ms. Takimoto Megumi (ACCU) - Facilitator:

Following comments were made during the groupdiscussion:

General comments:- The most important part of the Data Bank for users

is the information on Agencies. (R.P.)- Data Bank must include not just performing arts,

but all forms of ICH, following the criteria in theConvention. So, it should change its name too.(everybody)

- The existing Data Bank is useful. (Mongolia,Vietnam)

- All [the member] countries should be included.(Myanmar, Kyrgyzstan)

- It is important for our rich dance culture to beincluded in the DB, (Sri Lanka) because manydances do exist in the country.

- By continuing this project and improving theDataBank, ACCU should become archive centerfor ICH. (Viet Nam)

For updating and expanding:- ACCU should send data sheets to both participants

of meeting and the National Commissions, everytime it holds such meetings.

- DataBank should be sent by e-mail, fax and postalmail. In case of e-mail, minimal formatting forconvenience.

- For ensuring the data sheets to be filled andreturned, financial reward should be paid.

- A committee consisting of 5 to 10 expertsrecommended by the participants of this meetingshould be established.

- The National Commissions and other agencies tobe worked as focal points.

Reference- SPC (South Pacific Community) has similar kind ofdatabank.


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Group 5 New IdeasMembers:Ms. Noorshia Sabri (Malaysia)Mr. Howard Charles (Palau)Ms. Munzifakhon Babadjanova (Tajikistan)Dr. Somtrakool Kla (Thaliand)Prof. Rustambek Abdullaev (Uzbekistan)Mr. SATO Kunio (ACCU)Dr. Sangmee Bak (Rep. of Korea) - Facilitator

Group 5 discussed on the priorities in ACCU’s futureprojects. The results of the group discussion can becategorized into 5.

1) It is important to build a consortium among ACCUand other countries or other organizations. Giventhe changing economic conditions of the countriesin the Asia and the Pacific region, some countriesand organizations in the region can utilize ACCU’saccumulated know-how on taking initiatives onmatter regarding intangible cultural heritage. Thisalso will make the projects to be more locallyrelevant.

2) It is important for ACCU to build a network ofspecialists in the field of intangible culturalproperties. ACCU can match the demand andsupply of specialists in the field of intangiblecultural heritage because of its long experience ofworking on the issue.

3) “Copyright” is emerging as an important issue inthe Asia and the Pacific region. It would be helpfulfor the ACCU to work on this issue and do somecomparative work so that countries in the regionhave better understanding on this. Palau passed hiscopyright law last year, and this may serve as agood model for other countries.

4) ACCU can hold a workshop on how to incorporateintangible cultural heritage into formal educationalsystem.


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2. Suggestions/opinions to the future ACCU Programme on ICH (Suggestions gethered through NP Method on Day 3)

[Material Development]

• A handbook is necessary on the background, evolvement of ICH• Production of a handbook on ICH to enable, among others, school children or teachers to understand importance

of ICH• Publishing Booklet and producing CD-ROM• Should more types of material (DVD) and focus on target group like young generation (children, students…)• Should produce more in form of CD or DVD• Dancing materials and techniques of Sri Lanka for beginners on how to learn them• Produce a video on all masterpieces proclaimed in region – funded jointly with UNESCO• Materials would be distributed in all countries?• Distribution strategy by CD, website and locally by projector.• ACCU should make great efforts to include more Pacific Island collection.• Produce materials in-country (to enhance local capacity) using and training local counterparts• Produce animated videos in country (to enhance local capacity) on stories from host country – train locals in

doing animation provide software.• DVD (musical instruments)• ACCU should produce a practical guidebook with visual aid on the scientific method of documentation.• CD-ROM of intangible heritage in Mongolian version, ACCU assistance• ACCU should produce a handbook on what is ICH to assist the interpretation of the convention.• ACCU should provide to educate the knowledge and definition of ICH to younger generation• ACCU should produce books for children with illustrations on popular myths, oral traditions, performances

& festivals to be done by resource people from each country• Types: DVD, booklet, website• Themes: Oral + ICH• Type of material: (1) booklet (2) booklet, CD• Target group: (1) adults: teachers, managers, etc., (2) young people, children• Contents: Explanation, details, examples of oral + ICH• Distribution strategy: Nat Coms, but also directly to Min. of CCT, Min of Education or other relevant bodies,

ideally ACCU net work partners + UNESCO field offices

[Heritage Management]• Legal aspect of the intangible heritage• The management policy should be discussed at ministerial or state levels• ACCU Mongolian Joint Program: “Pressing problems on protection of Mongolian Intangible Heritage”

National workshop and documentation of national heritage – funding by UNESCO• Problems of copyrights in intangible heritage by ACCU• ACCU should organize national level seminar on heritage management in each member country in a phasewise

basis.• Types of workshops from regional levels to national levels• Workshop linked to material development.• City image and ICH• How to promote the city by promoting ICH, while not abuse any negative (destructive) influence on ICH• Focus on specific ICH on each locality• Context of ICH item in the community• More intimate understanding• Practice of ICH• Local foundations/ govt. support• Program to train administrative personnel, policy makers, experts to orient them with the correct method of

conservation• To be held in places other than Japan. We should have hands-on experiences of well and poorly managed


Heritage Management Systems. We can share ideas on how to improve it.• On the convention on ICH and how to fulfill obligations of the convention (for member states.)• Communal houses in Oceania• Make website include information on “how to” begin various types of programs, etc• More regional workshops on endangered sectors such as “nomads” be organised• Cultural Management and follow up activities are to be enlarged in informing participants by workshops.

[Documentation]• NGOs working on cultural promotion be assisted and invited to ACCU activities• Skills and techniques for documentation of the ICH should be developed and use through policy implementation

to ensure its usage.• Assistance and training in creating national databases of ICH documented material to enhance access and

utilisation of these materials.• Updating and continuation of current ACCU material important to work on ICH beyond “Masterpieces”• (1) New countries (2) after care of the video (uses in education)• Assistance and training to member states on archiving audio and audio-visual materials and collections. (i.e.

existing collections)

[Data Bank]• Making a cultural map of Asia-Pacific region. Sometimes we don’t know whether our country’s intangible

heritage exist in other countries as well. This also will help us realise Asia-Pacific identity.• Compatibility of software/system• Compatibility of structure of records• Survey should be taken place for both experts and institutions• availability of access to wider audience• Data to be placed on a server that is electronically updated with access to change data open to key people.

Agencies in each country to take responsibility for keeping the data up to date• Developing existing data bank through conducting new survey.• System for data collecting and quality control survey are needed.• Dynamic future strategies• Request each state member to do a intensive country data base.• Send us one more time all information for filling up.• Ensure that each Asia-Pacific country is involved and data of each country is updated.• Should collect more materials on ICH in the world and make them in the format of nation of National

Geographic Issues of animals for TV show all over the world.• To seek out to identify key persons who should be responsible for collecting, assembling, sending, revising

data in each particular country.• Train other countries to collect and prepare ICH for submission to databank. Utilize education system.• National government should be used to update the existing Data Bank by giving time frame of 6 months.• Updating from time to time.• Need protocols to explain to communities why their ICH should be included and what uses will be made of

data bank.• What can be done to the issue of government refraining or not allowing ACCU member countries from

submitting data for the Databank programme especially with the onset of introducing intellectual propertyrights for traditional knowledge in some countries?

• Add data of Central Asia• UNESCO Bangkok is implementing for 2004/5: cultural industries framework & cultural mapping exercise

linkage/cooperation useful.• Necessary to update and more new data sources from respective countries• More detailed information• Interesting and eye-catching presentation of the website• Interactive• Question and answer• Training to those who have not started inventories at the national level by cultural exchange (for training


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through sending experts)• Revise data through networking• Strengthening the legal framework for safeguarding the ICH• To be revised and continued from result of “Inventory of ICH fund”.• ACCU DataBank should be an archive centre of ICH materials of Asian-Pacific countries.• Various kind of dancing techniques• history of dance• Intangible/tangible foundation and history.• Data on cultures of sub-regions of member countries be included.

[Others]Copyright• ACCU should hold a lot of workshops especially for countries who have not or are on the verge of enacting

copyright laws on intangible and tangible heritage.• ACCU should plan some kind of programme to clarify what is the right of a nation of property rights and of

all mankind.

ICH and tourism• There needs more discussion on ICH tourism – some member states think this can harm or distort ICH –

others say tourism is a good thing. ACCU should hold workshop involving tourism experts.

Research• Research should be one priority item. Comparative research on similar areas across countries to be promoted.

Training• Training course for ICT personnel in culture

Network• ACCU should establish a better network of personnel in the region to devise programmes/ projects on ICH.

Endangered language• ACCU should encourage training of linguists especially in the pacific.• ACCU should develop strategies to ensure that indigenous languages are promoted in the education system

• ACCU should create a small task force to devise strategies for preserving and revitalising endangeredlanguages.

Some programmes linked to tangible and intangible heritage• (i.e. ref. memory of the world programme & world heritage)

Cultural industries• ACCU should promote and research on cultural industries with ICH as the contents.

others• ACCU should encourage participation of central Asia in their material and other kind of production.• The year 2005 should be designated as the year of Intangible Cultural Heritage

Education of ICH• ACCU should launch a new programme to study the feasibility of ICH such as music, traditional instruments

etc. into education system.• ACCU should publish atlas of musical instruments of Asia and the Pacific and encyclopaedia of traditional

music.• ACCU should serve as an information – clearing house for intangible cultural heritage which can be utilised

at any time.



Chapter 2

Presentations1. Keynote Speech-UNESCO

2. Keynote Speech-Bunkacho

3. ACCU Presenation: ACCU’s Programmes and Vision for ICH Safeguarding

4. Resource Person’s Comments on the Second Proclamation

5. UNESCO Bangkok Office Presentation

6. ACCU Report: ACCU’s Strategies for Safeguarding of ICH in Asia and the

Pacific



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1. Keynote Speech:On the Background, the interpretation and the implementation of theConvention for the Safeguarding of the Intangible Cultural HeritageMr. Rieks SmeetsChief, Intangible Heritage Section, UNESCO

1. IntroductionI would like to speak with you at some length aboutthe Convention for the Safeguarding of the IntangibleCultural Heritage, which was adopted in October lastyear. I hope to evoke quite a number of questions - Ihave to warn you that many of these literally arequestions, to which we do not have straightforwardanswers. That is why we are here, to exchangeexperiences and views related to especially thepractice of the safeguarding of intangible culturalheritage, and maybe to find one or two answers.

2. The 1989 Recommendation and its aftermathAlthough the discussion on the protection ofintangible cultural heritage started already decadesago, the preparation of the 2003 Convention itselfdid not take much time, in fact no more than abouttwo very dense years of activities – in all more than30,000 hours were invested in this enterprise byexperts, delegations and the Secretariat. As you know,in 1989 UNESCO issued a Recommendation on theSafeguarding of Traditional Culture and Folklore (bythe way, that was about the last time the expression“folklore” was used in a UNESCO context). ThatRecommendation was not extremely successful; asa soft law instrument, is not binding at all, but still,some Member States were inspired by it and startedtaking legislative measures and drawing upinventories of elements of their intangible culturalheritage.

At Headquarters the impact was considerable: twoprogrammes were developed as a follow-up to theRecommendation. The first was the Living HumanTreasures programme, which, in fact, followed EastAsian, in the first place Japanese experiences in thisfield. The other and major tangible result of the ’89Recommendation was, of course, the Proclamationof the Masterpieces or the Oral and IntangibleHeritage of Humanity, a programme that is becomingmore successful by the year, but stil l notcomprehensive enough. At the end of the ‘90s, atthe Smithsonian Institution in Washington D.C., ameeting was held to take stock of the results obtainedso far within the UNESCO context in the field of the

safeguarding of intangible cultural heritage. One ofthe conclusions was that a harder legal instrumentwas needed. This was brought to the attention of theDirector-General of UNESCO who reported aboutthe subject to the Member States. The 31st sessionof the General Conference then decided to worktowards a new international instrument, preferably aconvention.

3. Initial debates and considerationsAt the beginning of the process, we saw, if not aseparation, certainly a division of minds, especiallybetween North and South, about, for instance, thenecessity of having an instrument at this level at alland about definitions and scope.

Many countries from the beginning saw the possiblenew instrument as a counterpart to the 1972Convention Concerning the Protection of the WorldCultural and Natural Heritage which concentratesmainly on listing elements of outstanding universalvalue belonging to the built and natural heritage,including – at present – canals, serial sites and culturallandscapes. The 1972 Convention turned out to besuccessful, especially in the North, with countrieslike Italy, France, Spain, and Germany, each havingmore elements on the World Heritage List than, forinstance, the whole of Sub-Saharan Africa. Feelingsof dissatisfaction about this geographical imbalance,and about that other imbalance in attention fortangible versus intangible heritage was felt and ledmany countries to express themselves in favour ofthe development of a legal instrument that would bea sister to the 1972 Convention.

4. Early preparations

UNESCO organized a series of expert meetings. Thefirst one took place in Turin, in 2001; there definitionswere discussed. The scope of a possible newConvention was the subject matter of a next meeting,held in early 2002 in Rio de Janeiro, Brazil. ThenUNESCO went on organizing expert meetings inParis in the early summer of 2002; three meetingswere organized at that juncture of time, devoted to,


40

again, definitions and the scope of the Conventionand also, for the first time, to its legal design. RalphRegenvanu, here present, participated in a large partof these meetings, and no doubt he will refer to themtomorrow. I had the honour to participate in part ofthose meetings, assisting the Dutch delegation; itindeed was a privilege to be there and to learn fromthe discussions.

On the request of some Member States it was firstdecided to model the new Convention after the 1972Convention. Later on, this decision was criticised byother Member States who, in view of the hugedifferences between tangible and intangible heritage,did not want to follow more or less blindly theregulations of the 1972 Convention.

5. The meeting of intergovernmental experts

The real work started in the summer of 2002: a draftproposal for the Convention was sent out to allMember States for their comments and a series ofsessions that together formed one serial meeting ofintergovernmental experts, began in September 2002.The sessions took place in September 2002, February2003 and June 2003, and an additional intersessionwas organised in between the February and Junesessions.

This was no easy meeting: on the one hand, thesubject of intangible heritage is difficult to define.Being rich in diversity, it is seen differently in thevarious regions of the world, and it is, indeed, a rathernew subject for many. On the other hand, there wasthis huge room containing, on the average,representatives of between 90 and 130 States whobrought in quite divergent instructions from theircapitals. The experts themselves and their views andapproaches also varied widely: the participantsranged from anthropologists, ethnologists andsociologists, via legal experts, some of them with,others without experience in cultural matters, togeneralists. During the first two meetings the scopeand the definition of intangible cultural heritage werethe main subjects of debate; otherwise the discussionsremained rather general. At first, the progress wasnot impressive. At the end of the February 2003session, it was decided to have an intersessionmeeting. That session was held in Paris in April 2003;only 18 persons participated in it, three for each ofthe regions of the world as defined by UNESCO.They did so in their personal capacity. These experts

did a great job: they went through all of theprovisional articles that had already been in place,taking into account comments from Member Statesand the discussions in the September and Februarysessions. They worked very hard and in greatcooperation – we cannot be thankful enough to thisgroup of 18 and in particular to H. E. MohammedBedjaoui who chaired not only this intersession, butalso all the other sessions that took place in Paris.The group revised virtually all of the preliminary text,which then was offered to and accepted as a point ofdeparture by the third and last regular session of themeeting of governmental experts meeting. At the endof that session, which took two full weeks, the expertsconsidered their task fulfilled; that was by mid-June2003.

6. Adoption of the Convention

The text that resulted from the June meeting was sentto the Director-General who agreed with thegovernmental experts that it was complete and goodenough to be sent to the Executive Board of UNESCOin September 2003. The Executive Board discussedthe text briefly and then sent it on to the GeneralConference with the recommendation to adopt thetext as a UNESCO Convention and so it happened.The draft convention was discussed at length in theCommission for Culture of the 32nd session of theGeneral Conference. Finally, on 17 October 2003,120 states voted in favour, eight abstained, and therewere no votes against adoption of the text.

7. A good compromiseDoes this mean that we have an ideal text? No, that’snot what we have. We have a useful text ofcompromise, which can be implemented. One expertpublicly declared he could live with it for 98 percent;others echoed his remarks and, of course, the portionsof the texts they are less happy about do not coincide.During the discussions the experts often noted thatthe approaches towards intangible cultural heritagediffer regionally, that one has to take into stock andrespect these differences, and that no one-sidedunderstanding of intangible cultural heritage shouldbe imposed through this Convention, nor a one-sidedapproach towards its safeguarding. It was stressedthat not only intangible heritage constantly developsand renews itself, but that the same goes for itsappreciation and acceptance. So flexible approachesproved to be necessary. The experts also stressedthat views on intangible heritage by experts and


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experts/practitioners are developing as well. Had thetext of the Convention been prepared ten years lateror ten years earlier, it is sure that the definition ofintangible heritage would have been different.

8. The organs of the ConventionThe body of the text of the Convention is precededby a Preamble explaining the background, the raisond’être and the context of the Convention. Chapterone indicates the goals of the Convention and itprovides definitions, a definition of intangible culturalheritage and a definition of safeguarding. I will comeback in a moment to the definition of intangiblecultural heritage.

The second chapter introduces the statutory bodies,or organs of the Convention, which are its GeneralAssembly and the Intergovernmental Committee forthe Safeguarding of the Intangible Cultural Heritage.All countries that ratify, or adhere in another way tothe Convention, will become members of the GeneralAssembly of the State Parties. Three months afterthe deposit of the thirtieth instrument of ratificationthe Convention will enter into force (Art. 34). Afterthat, the States Parties to the Convention, meeting inGeneral Assembly, will elect the IntergovernmentalCommittee, which initially will have eighteenmembers, representatives of States Parties (Article5(1)). Half of the members of the first Committeewill be appointed for four years, half of them for twoyears. So after two years, half of the membershipwill be renewed. The first Committee will beespecially important, as it will have the crucial taskof enriching and operationalizing the Conventionthrough the creation of a set of OperationalGuidelines. Various points mentioned in theConvention will have to be clarified, definitions willhave to be updated and regulations developed. I willtouch in passing by a number of questions that – Ipresume - will not fail to be on the agenda of the firstCommittee.

The first 35 to 40 countries that sign and ratify thisConvention will have an enormous chance of beingamong the members of the first Committee andconsequently will have a decisive influence in thediscussions on the operational guidelines. We hopewe will have a good regional distribution within thisfirst committee so as to have varied input from thedifferent regions of the world. I will not cease torepeat how important it is for Member States to be

on that first Committee, as it is there in fact that thefate of the Convention will be decided.

9. Safeguarding of the intangible cultural heritageat the national level; community involvement

Chapter 3 of the Convention discusses safeguardingof the intangible cultural heritage at the national level;article 11 says that States Parties shall take thenecessary measures to ensure the safeguarding of theintangible cultural heritage present in their territory.The necessity to involve communities, groups and,where appropriate, individuals, already mentionedbefore in the Preamble and in the definition, is clearlyindicated in that chapter.

The preamble recognizes that communities, inparticular indigenous communities, groups and, insome cases, individuals play an important role in theproduction, safeguarding, maintenance and recreationof the intangible cultural heritage. The word“indigenous” does not recur in the text of theConvention. In fact, communities and groups are notdefined in the Convention.

The Convention asks States Parties to work closelytogether with communities and groups (Articles 11and 15). In article 11 it does so in relatively stronglanguage, as it states that it is an obligation to identifyand define the various elements of the intangiblecultural heritage with the participation ofcommunities, groups and non-governmentalorganizations. Article 15 is less binding in itswording; it stipulates that each State Party shallendeavour to ensure the widest possible participationof communities, groups and, where appropriate,individuals that create, maintain and transmit theheritage, and to involve them actively in itsmanagement.

It is important to stress that at many times it wasemphasised that one person can belong to severalcommunities at the same time, and that individualsshould have the freedom to switch communities. TheConvention does not speak about intellectual propertyrights or other forms of legal protection of groups orcommunities. UNESCO will continue to closelycooperate with WIPO, the World IntellectualProperty Organisation in Geneva, which is studyingthe possibilities of the creation of an internationalinstrument that would deal, among other things, withintellectual property rights in the field of folklore/


42

intangible cultural heritage. It is clear that theCommittee will have to pronounce itself on the roleof communities, groups and individuals in the variousprocesses of safeguarding.

10. Safeguarding of the intangible culturalheritage at the national level; lists andprograms

Chapter 4 of the Convention deals with thesafeguarding of the intangible cultural heritage at theinternational level. Its Article 16 introduces theRepresentative List of the Intangible CulturalHeritage of Humanity, which aims at ensuring bettervisibility of the intangible cultural heritage, betterawareness of its significance and also at encouragingdialogue that respects cultural diversity. It will be upto the Committee, which has to draw up the criteriafor the establishment of this List, to determine whatexactly has to be understood under the term“representative”. According to Article 17, theCommittee shall also establish, keep up to date andpublish a List of Intangible Heritage in need of UrgentSafeguarding, in fact a list for elements of intangiblecultural heritage that are endangered. The Committeewill also have to determine when an element of theintangible cultural heritage is endangered. This mayprove to be a difficult task, as traditions bearersbelonging to, for instance, different generations, orinternal and external experts might have differentopinions about concrete cases.

Article 18 introduces requests for internationalassistance for programmes, projects and otheractivities for the safeguarding of the intangiblecultural heritage that will have to be selectedperiodically by the Committee. Forms and purposesof and conditions for international assistance arespecified in chapter 5 of the Convention.

11. The Fund

Chapter 6, concerning the establishment, the natureand the resources of a Fund for the Safeguarding ofthe Intangible Cultural Heritage, is crucial and tooklengthy discussions before it could reach its finalwording. Originally, it was proposed to have anobligatory contribution to the Fund only, with a fixedlevel of contribution to be determined by the GeneralAssembly. There were divergent visions on thisquestion. At the end of the day the intergovernmental

experts succeeded in creating an article regulatingthe contributions of States Parties to the Fund.

The first paragraph of that article (Article 26 of theConvention) introduces a contribution that StatesParties will undertake to pay to the Fund, the amountof which is to be determined by the GeneralAssembly. That contribution shall not exceed 1percent of the contribution of the State Party to theregular budget of UNESCO.

However, the second paragraph makes it clear thatthe contribution mentioned in paragraph 1 is notstrictly obligatory as States may declare, whenadhering to the Convention, that they shall not bebound by it. Paragraph 4 of the same article 26introduces contributions of States Parties that havedeclared not to be bound by paragraph 1; suchcontributions should be as close as possible to thecontributions these States would have owed if theyhad been bound by paragraph 1.

It is a good thing that there will be a Fund with moreor less obligatory contributions; however, theobligatory contributions alone will not suffice.Already now UNESCO is receiving for the executionof its programmes in the domain of the safeguardingof the intangible cultural heritage a considerableamount of extra-budgetary funding; most of thatfunding, some 75 percent, is generously provided bythe UNESCO/Japan Funds-in-Trust. In fact, theamount UNESCO is receiving nowadays is higherthan what we can expect to receive in the form ofcontributions to the Fund even if half of the MemberStates of UNESCO, chosen at random, would becomeregular contributors to the Fund in accordance withthe first paragraph of Article 26 of the Convention.This means that UNESCO has to go on trying hardto obtain extra-budgetary funding for its present andfuture programmes in this field. I am happy to beable to tell you that, apart from the Japan Funds-in-Trust contributions, we receive considerablecontributions from other States as well; at this verymoment we are in contact with the Korean authoritieswho announced last year that they too wish to createa Funds-in-Trust to be used for programmes in thefield of intangible cultural heritage.

12. The definition of intangible cultural heritage:the question of language

The experts spent a long time on the definition ofintangible cultural heritage, while acknowledging that


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this definition is to remain work in progress. Thedefinition consists of two parts. Article 2(1) presentsa broad definition while article 2(2) enumerates in anon-exhaustive manner a number of domains inwhich the intangible cultural heritage is manifested.These domains are the following:

(a) oral traditions and expressions, includinglanguage as a vehicle of the intangible culturalheritage;

(b) performing arts;(c) social practices, rituals and festive events;(d) knowledge and practices concerning nature and

the universe;(e) traditional craftsmanship.

The programme of the Masterpieces providesexamples for all of these domains, of which (b)encompasses, among other things, chanting, music,dance and theatre, while (d) covers, among otherthings, classificatory systems and traditionalmedicine. The longest discussions were held on thequestions whether/how language was to be mentionedunder (a). Some participants in the February 2003session of the meeting of governmental expertswanted language to be mentioned in its own right, aslanguage is widely recognized as an often very crucialpart of our intangible cultural heritage and alsobecause a large part of our linguistic heritage isseriously endangered. Other participants did not wantlanguage to be mentioned explicitly. In the end, acompromise solution was found.

This outcome is not surprising as it is in line with thespirit of all international instruments adopted to datein the United Nations system that deal directly orindirectly with language issues. When linguisticrights of groups or more frequently of individualsare mentioned in such texts, the wording is non-binding with expressions like ‘where possible’,‘where fitting’ and ‘where appropriate’ being usedas softeners. The legal instruments in question areoften concerned with educational matters.

It will be up to the Committee to interpret this point.It might mean that under the Convention languagewill be protected only insofar as it is indispensablein transmission systems or for performances andrepresentations; it may also mean that, for instance,the proverbs of a language, or specialised layers oflexicons that are crucial for such fields as traditionalcraftsmanship and knowledge about nature, will haveto be documented and/or safeguarded.

13.The definition of intangible cultural heritage:manifestations and tangible elements

Article 2 of the Convention gives a description ratherthan a definition of the intangible cultural heritage;it is rich in content, but not easy in its wording. Itwill therefore ask much attention from the firstCommittee.

Article 2(1) starts by stating that for the purposes ofthe Convention the intangible cultural heritage meanspractises, representations and expressions, andknowledge and skills, that communities, groups and,in some case, individuals recognize as part of theircultural heritage. The knowledge and skills are storedin the minds of the members of the tradition bearers;the audible and visible manifestations of theintangible cultural heritage, which are temporary andephemeral, called here practices, expressions andrepresentations, belong to one or more of the domainsspecified in paragraph 2 of the same article – thereindeed is a great deal of overlap between thesedomains.

The manifestations are enacted by means of – in thefirst place – the human body. Think of oralexpressions, singing, facial expressions, gestures anddance; for a large part of the manifestations of theintangible cultural heritage the performers orpractitioners do not need specific instruments,artefacts of spaces. The body as the place ofenactment of the intangible cultural heritage is oftenunderlined by, for instance, paintings and tattoos,hairdo and piercing, or by costumes and masques.Indeed, for many elements of the intangible culturalheritage, specific objects, instruments or artefacts,or so-called cultural spaces are needed. TheConvention mentions these categories of objects andthe cultural spaces as being associated with thepractices, representations and expressions,knowledge and skills. The text seems to include inits description of intangible cultural heritage theseassociated objects and spaces. The Committee mightwish to discuss this subject; what it certainly doesimply is that the Convention is to protect certaincategories of tangible elements that are indispensablefor the manifestation of intangible cultural heritage.

14. The definition of intangible cultural heritage:freezing and documentation

The next sentence of article 2(2) states that intangible


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cultural heritage is transmitted from generation togeneration and that it is constantly recreated bycommunities and groups which it provides with asense of identity and continuity. The important rolegiven in this paragraph to communities and groupsis striking; the sentence is also important as itprovides a number of crucial criteria for theidentification of intangible cultural heritage to besafeguarded under this Convention: it has to betraditional, it has to be living and it has to berecognized by communities not just as theirs, but asimportant for their identity. The experts that preparedthe text of the Convention regularly expressed theview that safeguarding actions to be implementedunder this Convention should not lead to freezingintangible cultural heritage; they meant rather toprotect the conditions that enable societies and groupsto continue to perform and practice than to protectas such the form or function of the manifestations ofthe intangible cultural heritage.

Documentation is one of the aspects of safeguardingmentioned in article 3 of the Convention;documentation does not necessarily freeze intangiblecultural heritage, nor does it make intangible heritagetangible. What documentation does is preserving forfuture generations and for researchers, one or morespecific instances of the manifestations of intangiblecultural heritage; no more than that. Documentation,if well done, can be extremely useful, especially inthe case of elements whose transmission to theyounger generations has become problematic. Whena really living manifestation is documented, theprocesses of transmission and recreation will not bestopped; they will just go on and, after some time, itwill be possible to follow the changes in form andfunction of the intangible heritage concerned and afollowing round of documentation may be considerednecessary.

15. Transmission

The Committee will also have to decide about theimplication of the expression “transmitted fromgeneration to generation”. How many generations?Tw o , t h r e e , t w e n t y ? I n a m e e t i n g o fethnomusicologists, last December, it was suggestedthat in pre-modern and traditional societies threegenerations would be enough, and in more modernsocieties two. In that same meeting it was suggestedthat the concept of authenticity can hardly be appliedto intangible heritage, at least not in a sense similar

to that used in discussions on World Heritage, where‘authentic’ seems to mean, in two words: ‘historicallycorrect’. Here lies another task for the future.

It is clear that, everywhere in the world, traditionaltransmission systems are under pressure, due toforces, mentioned in the Preamble of the Convention,like globalisation and social transformation andleading to homogenisation and to erosion of ourcultural diversity. The Preamble also mentions theneed to build greater awareness, especially amongthe younger generations, of the importance of theintangible cultural heritage and of its safeguarding.New ways have to be found of transmitting traditionalknowledge and skills, making use of both formal andnon-formal education (Article 2(3)) and of newmedia. The Committee will need here sets of goodand bad experiences and practices.

16. The definition of intangible cultural heritage:remaining criteria

Under the 2003 Convention no consideration will begiven to intangible heritage that is not compatiblewith international human rights instruments or withrequirements of respect among communities andindividuals and of sustainable development.UNESCO has, in the field of intangible culturalheritage, no extensive experience with theimplementation of such criteria. The Committee willneed to work out a brand-new set of guidelines forthis area.

17. Tangible and intangible heritage

The relation between tangible and intangiblenowadays is a hot item on various agendas. It isfashionable to state that, in fact, there is no differencebetween them. There are, of course, links and thesehave to be taken into account, but we can only do soafter having taken stock of the fundamentaldifferences between prototypical tangible andintangible heritage – differences that, in many cases,ask for different safeguarding approaches.

The intangible cultural heritage lives: it does so inthe human mind. It is, often at regular intervals or onspecific occasions, enacted and transformed bypeople who have the knowledge and skills to do so.

Often manifestations of intangible cultural heritagedo not need material support; however, if they do,


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then the objects or places in question don’t need tobe of outstanding or universal value. The attitudes ofpractitioners and tradition bearers to these objectsand spaces is governed by ideas and values that differfundamentally from those of historians, conservators,art collectors and – often – anthropologists.

Intangible heritage moves with people: items of theintangible cultural heritage are often found ondifferent sides of State borders, or in immigrantcommunities, scattered over the world. This situation,in combination with the fact that the identificationof items of intangible cultural heritage is not alwaysan easy task, asks for specific approaches and fortaking into account political sensitivities.

Many items of the intangible cultural heritage cannotstand large numbers of tourists: the interactionbetween performers and audience in smallcommunities can be disturbed already by the presenceof one or a few outsiders. Mass tourism and thesafeguarding of intangible cultural heritage, asunderstood in this Convention, do not seem easilycompatible. Questions like authenticity and integrity,if applicable at all, will have to be defined anew forthe purpose of the safeguarding of intangible culturalheritage. The nature of associative values that areprimarily linked to and conditioned by built andnatural heritage is not to be confounded withprototypical living heritage.

However, there are items of the intangible culturalheritage that are dependent on the existence ofspecific cultural spaces. Actions aiming at ensuringthe safeguarding of such elements will need aninterdisciplinary approach in which experts in thefield of built and natural heritage or environment willwork together with practitioners and other experts inthe field of the safeguarding of intangible culturalheritage. A unique example so far of interwovenelements on the World heritage List and on the list ofMasterpieces of the Oral and Intangible Heritage ofHumanity is presented by the Rice Terraces of thePhilippine Cordilleras and the Hudhud Chants of theIfugao community, in the Philippines. The protectionof the rice terraces, which are in danger, and thesafeguarding of the chants, which are threatenedlargely by the same phenomena, could make a goodfirst subject for cooperation in the field of intangibleand tangible heritage.

17. The future of the Masterpieces

The programme of the Masterpieces was discussedat length during the intergovernmental meeting. Theprogramme is gaining in popularity every biennium;many Member States like it enormously and arehappy to house a Masterpiece. A number ofgovernmental experts stated, however, that in the fieldof intangible cultural heritage one should not speakof Masterpieces. They claimed that a criterion like“outstanding universal value”, which is the backboneof the World Heritage List, should not be applied inthe same way to intangible heritage. They oftenreferred to the domain of language and languagepolicies, where the fundamental equality of languagesis widely recognized. Finally, it was decided to havea system of two lists (rather than registers) and, inorder to avoid the idea of what was called a beautycontest, to call one of the lists the Representative Listof the Intangible Cultural Heritage of Humanity. Itwill be up to the Committee to determine the conceptof representativity. Everything is open for debate.

After the entry into force of the Convention, nofurther Proclamations of Masterpieces will be made(Article 31(3)) and the items already proclaimedMasterpieces shall be incorporated in theRepresentative List (Article 31(1)). The criteria forinscription on the Representative List, to bedeveloped by the Committee (Article 16(2)), shallnot be prejudged by this incorporation.

This means, I think, that for Member States who boastone or more Masterpieces it is especially relevant tobecome a State Party to the Convention, if not amember of the Committee, right from the beginning.

18. Promotion and preparation of the Convention

Earlier this morning I already explained to you thatwe will organize various types of meetings, both inthe regions and at Headquarters, in order to promotethe Convention; we will there try to explain what theConvention is about and what may be the advantagesfor Member States to become a party to it. We areright now preparing an information kit that will beused in the initial meetings.

However, we will also develop a series of manuals,as I also said earlier today. These manuals will bewritten by experts from all regions and they will tryto explain what will be the obligations and the rights


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2. Keynote Speech: Japanese Administrative System for

Protection of ICHMr. Suzuki Norio, Councilor on Cultural PropertiesBunkacho (Agency for Cultural Affairs of Japan)

Today I would like to talk about the system ofprotecting intangible cultural properties within theperspective of public administration of culturalproperties, from the viewpoint of someone who isengaged in the public administration of culturalproperties in Japan.

The order of the talk is as follows. First an outline ofthe protection of cultural properties in Japan and anoutline of the history and current situation of thesystem of protection of intangible cultural properties.Then, I would like to talk about the Japaneseinitiatives as to the ratification of the Convention forthe Safeguarding of the Intangible Cultural Heritagewhich was adopted at the 32nd General Conference.Lastly I would like to talk about the challenges inthe protection of the ICH.

of States Parties to the Convention. They will containlarge numbers of examples of good and best practices,and analyses of problematic questions encounteredso far. They will also show regional differences inapproaches and appreciations. The experiencesgained with the Masterpieces programme will be usedto a maximum. We hope to produce within thisbiennium a first, general manual and one introducingthe subject of the safeguarding of social practices,rituals and festive events. We hope to start developingtwo more, one on oral traditions and expressions, theother one on performing arts, within this biennium.We will need the support from extra-budgetarycontributions in order to finalize the series.

The manuals are intended to serve experts,practitioners, policy-makers and decision makers;often they will not provide unique answers. It is upto the future Committee to decide whether suchanswers are necessary and how they wish to deal withthe information presented in the manuals.

As you know, Algeria was the first Member State toratify the Convention; we are pretty confident that

the number of adhesions will reach ten before 2005.We hope to see – and we are working hard to obtainthat goal – thirty States ratifying before the end of2005, and we hope for a good regional spreading inthe General Assembly of States Parties to theConvention at that. Three months later the Committeemight be in place and it will be our honour to assist itin drawing up the operational guidelines for theimplementation of the Convention.

In view of the high density and the appreciation ofintangible cultural heritage in this part of the world,in view also of the high awareness of the existenceand the role of intangible cultural heritage amongpolicy-makers in your countries, in view of yoursuccesses in the Masterpieces programme, we areconfident that we will see a large representation ofAsian countries in the General Assembly of StatesParties in its first composition. I would be verygrateful to each and all of you, if you could influencethe process of ratification of the Convention in yourcountries and if you could inform us about anypositive developments in this field.

1. IntroductionHere in Japan, since about half a century ago we havebeen taking up intangible cultural heritage assomething to be protected by the nationalgovernment. We are proud to be quite advanced byworld standards at least in this area. I will elaboratefurther on this much later. However, that does notmean that we have only been protecting intangiblecultural heritage. Please refer to the blue booklettitled “Administration of Cultural Affairs in Japan”.This is the publication that has been put out as a sortof publicity by the Agency for Cultural Affairs. Frompage 47 it talks about the public administration ofintangible cultural properties. Please refer to thediagram on Page 48.

On one hand, there are many items of cultural heritageand natural heritage, works of art, applied art,architectural structures, historical sites, and tangible


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folk cultural properties. These are tangible culturalproperties. Then, there are places of beauty, naturalmonuments. These are natural heritage. Then, onthe other hand, there are traditional performing arts,folk performing arts and traditional craft techniques.These are intangible cultural properties. Here inJapan, we consider intangible cultural properties tohave equivalent value to that of tangible propertiesso we have developed a legal system to protect boththe tangible and intangible properties.

During my presentation I will be using two terms,“cultural heritage” and “cultural properties”. As Isaid earlier, here in Japan, the notion of culturalproperties has been defined very broadly, so the term“cultural properties” in Japan is almost synonymouswith the term “heritage” which is used by UNESCO.So the distinction would not be so precise but whenI talk about things happening in Japan, I will use theterm “cultural properties” but when it comes tointernational affairs I will be using the term“heritage”.

2. History of Protection of Cultural Properties inJapanNext I would like to briefly explain our history inthis field of protection of cultural properties in Japan.

Japan started to think about the system of protection,the modern system, in the second half of thenineteenth century, that is when we started to buildour nation as a modern nation-state. In case ofmodern protection of the cultural properties, bydefinition, it has to be a system of nationwide scopeand it has to be also a system where balance is struckbetween conservation and usage. So in that sense,the Law for the Preservation of Ancient Shrines andTemples, which was enacted in 1897, can be said tobe the first substantial protection system. However,the basis of the policy of the protection of culturalproperties has to do with the broad nationwideresearch started in 1872, which was immediately afterthe Meiji Restoration (1868), and this led to theenactment of the Law for Preservation of AncientShrines and Temples in 1897. If I may go into thestipulations of this law, firstly grants for conservationand repairs were stipulated. There is a ban ondisposition and seizure of cultural properties if theitem is once designated. Furthermore, possessionhas the obligation of stewardship and the possessorhas to exhibit the items in museums if such a requestis made.

However, this law covered only the ancient shrinesand temples, treasures and architectural structureswhich were gradually deteriorating due to the factthat there was no longer patronage from those inpower, such as the Shogunate family and feudal lords,after entering the modern period. So, because of that,in 1929 in place of the Ancient Shrines and Templeslaw, a new law was enacted. This was the NationalTreasures Preservation Law which covered itemswhich were in the possession of the national and localgovernments and individual citizens. The NationalTreasures Preservation Law stipulated the following:grants and subsidies for maintenance and repairs;export permit system for items which are designatedas properties under this law; and the permit systemfor changing the current situation.

With this law for the very first time we had the exportpermit system. This is because there was a recessionat that time in Japan and in order to regulate theoutflow of art and antiques from Japan to the rest ofthe world, because they were so precious to Japan.In 1933 the law on the conservation of importantworks of art was enacted.

It took some time to designate an item as a nationaltreasure. So this law was to cover those items in thepossession of individuals which might go outside thecountry while waiting for designation as nationaltreasures.

So far I have talked about works of art andarchitectural structures. As for monuments, in 1874there were official requirements to give the notice ofdiscovery of ancient tombs within a private person’scompounds and this led to the present system andregulation of excavation of ancient tombs. In 1919,the Historic Sites and Areas of Scenic Beauty andNatural Monuments Protection Act was enacted, sothat we now have a permanent system to deal withchanges in the current situation and system ofdesignation. Here, the notions of historic sites, areasof scenic beauty and natural monuments which stillprevail today were enacted into law.

So, the 50-year period from the second half of thenineteenth century to the beginning of the twentiethcentury can be called the dawning period of theprotection of cultural properties in modern Japan.

Going through the trial and error, twists and turnsfor half a century, in 1950 we saw the enactment of


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the Law for Protection of Cultural Property which isstill in force today. The objective of this law is asfollows. As stated in article 1, the aim is to conservecultural properties and also aim at the utilization ofcultural properties and benefit to the culturalimprovement of the people, and to makecontributions to the advancement of the culturalworld at large.

Article 3, regarding cultural properties, stipulates asfollows. Cultural properties are indispensable for thecorrect understanding of the history and culture ofJapan and also form the foundation for its culturaldevelopment in the future.

Even today, 50 years after the enactment, thisobjective and intention are old and new, and serve asthe basis for public administration of culturalproperties in Japan currently and for the future.

Also what is important about this law is that inaddition to works of art, architectural structures andmonuments, folk cultural properties and buriedcultural properties, traditional performing arts andcraft techniques that are intangible cultural propertieswere designated as items to be protected.

There were some revisions after the enactment butthis law has become a rather rare legal system forthe protection of cultural properties even at the worldlevel because it encompasses a diversity of culturalproperties in a very systematic manner. However,this does not mean that we have a fully completedsystem of protection of cultural properties. Currently,we are making preparations for the revision of thelaw so that we can further expand the scope ofprotection.

The scope of expansion covers those features whichhave not been subject to protection, that is, terracedpaddy fields, hills within towns and villages,watersites, these cultural landscapes which werenurtured in relation to the life of people. In addition,blacksmithing, carpentry, sake wine making, localcuisine and manufacturing technology for utensilsand tools for life and production are also to beincluded. All these are to be protected by this law,once the revisions are made.

3. Current Situation of Protection of IntangibleCultural Heritage in JapanNow I would like to talk about the current situation

of protection of intangible cultural heritage here inJapan. This is rather complicated.

Japan started to protect intangible cultural propertiesthrough the national government only 50 years afterstarting to protect works of art and architecturalstructures, that is by the 1950 enactment of protectionof cultural properties. Intangible cultural propertieswhich are to be protected under this law are verynumerous because we have a very diversifiedtraditional culture that can be roughly divided intothree categories. (1) Items which have a high historicand artistic value in Japan are to be consideredintangible cultural properties. (2) Folk culturalproperties which are indispensable to theunderstanding of the changing life of people in Japan.(3) The traditional skills and techniques which areindispensable for the preservation of culturalproperties, such as works of art and architecturalstructures.

For these three categories if I may further elaborate,firstly the definition of intangible cultural properties,according to the law on the preservation of culturalproperties is as follows: art and skill employed indrama, music and applied arts and other intangiblecultural products which possess a high historical and/or artistic value in and for Japan. So roughly speaking,there are traditional performing arts such as theatreand music on one hand, and traditional crafttechniques on the other.

Of these intangible cultural properties, things whichare especially important are designated as ImportantIntangible Cultural Properties by the nationalgovernment. To obtain this designation there is a setof criteria. Firstly, relating to performing arts suchas music, dance, theatre, etc., items should haveoutstanding artistic value, or be historically importantto such arts, or possess conspicuous localcharacteristics or characteristics of each school.Also eligible are the techniques which subsumeimportant elements in the development and structureof performing arts which are very outstanding.

Regarding craft techniques, there is a variety ofgenres from ceramics, pottery, textiles andlacquerware to metalwork. Again those ofoutstanding artistic value, those which are importantin the history of crafts and those with very importantlocal flavour or characteristics are eligible. That isto say, in a nutshell, in designating properties as


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Important Intangible Cultural Properties the criteriafrom the viewpoint of historical value or artistic valuewill be applied.

Furthermore, as for traditional performing arts andtraditional craft techniques, these are the skills andcrafts of people per se themselves. So theseindividuals or groups of individuals who havemastered these skills and crafts are the actual agentswho express them. So as the Agency for CulturalAffairs, we designate the especially important skillsand crafts as Important Intangible Cultural Properties.At the same time, we recognize the individuals andorganizations who have mastered these skills andcrafts as holders or holding organizations of skills,and thus we are handing down the traditional skillsand crafts in Japan in a successful way.

Those individuals who are recognized as ImportantIntangible Cultural Properties are called by thehonorific title of Living Human Treasures in Japan.The national government gives subsidies to theseindividuals and organizations who are recognized.

Furthermore, the Agency for Cultural Affairs selectsthose items which are not designated as importantintangible cultural properties, but which are importantin understanding the changes and history ofperforming arts and craft techniques in Japan, asin tangible cul tura l proper t ies for whichdocumentation should be made. So every year wehave a project for the documentation including filmetc.

Now there is a category of folk performing arts whichare similar to the performing arts designated asintangible cultural properties. They are designatedas folk performing arts, not for historical or artisticmerit, and they are performed as folk traditions andcustoms by non-professional general members of thelocal community. The government preserves themalso as intangible folk cultural properties.

Under the law, intangible folk cultural properties aredefined as manners and customs related to food,clothing and housing, to occupations, religion,festivals, and folk entertainment; and tangible onesare defined as clothes, instruments, houses, and otherobjects used for above purposes, and those areindispensable for understanding the changes in themode of people’s life. Among those folk performingarts, important ones are designated as important

intangible or tangible folk cultural properties.Intangible Folk Cultural Properties correspond totraditional customs such as rites, events or folkperforming arts.

The selection criteria for intangible folk culturalproperties are as follows:

First of all, they should be a representativeembodiment in its origins and contents ofcharacteristics of the basic lifestyle or culture ofpeople;Secondly, annual events performed in shrines orreligious rituals which lay the foundation forperforming arts;Thirdly, those which indicate or suggest theformation of a certain performing art;Fourthly, those which show the process of changein a certain performing art;And finally, those with local features.

While Intangible Cultural Properties are evaluatedfor designation from historical and artistic point ofview, Intangible Folk Cultural Properties are assessedfrom a folkloristic point of view in that they areindispensable for helping us understand the changesin people’s way of life.

The central government provides subsidies forsuccessor training and repair of instruments for thepreservation of Intangible Folk Cultural Properties.Also the government shares part of the cost for thestudies and succession projects done by localgovernments even for those folk cultural propertiesnot officially recognized as such by the centralgovernment. Furthermore, for non-designated ones,when and where necessary, as is the case with theperforming arts and applied arts, the governmentselects those as Intangible Folk Cultural Propertiesthat require major documentation and providessubsidies for documentation projects done by localgovernments or public bodies.

Now, part of the intangible cultural heritage in Japanis traditional techniques and skills which areindispensable for conservation of cultural properties.They are selected by the government for safeguardingmeasures. Under the system, the government selectsand conserves the skills and techniques of repair orapplication of intangible properties, such as worksof art, crafts and architectural structures and skillsand techniques for making materials and instrumentsfor such purposes, as well as skills and techniques of


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repairing or making instruments or objects used intraditional folk performing arts.

The central government also designates individualsand groups which have mastered those techniquesand skills for protection. And it also providesnecessary subsidies and grants for successor trainingand documentation. Furthermore, a partial revisionfor amendments to the law for the protection ofcultural properties is going to be submitted to theon-going Diet session.

The revision is going to be submitted to cover a newcategory, which is folk skills and techniques whichare related to people’s life and production activitiesin communities. As I mentioned already they includethe techniques and skill of sake making, skills formaking a special local food, traditional Japanesewooden ships, embroidery, rice and straw, craft worksor the skills for producing Japanese traditional nails.

4. Domestic Legislative Adjustments towardsRatification of the ConventionWhen I was a child, they were more or lesscommonplace techniques and technology or skills,but due to the rapid changes in the time and society,some of those skills and techniques are in danger andtherefore in urgent need of safeguarding. That is apurpose to the proposed amendment of the law.

Thus, Japan preserves Intangible Cultural Propertiesas well as Intangible Folk Properties and Monuments.Those measures are comprehensive and integratedas they encompass both cultural and natural heritage.We are proud that perhaps Japan is one of the mostadvanced in the world in those safeguarding measuresand we will continue to endeavour for furtherprotection and conservation. The 32nd GeneralConference of UNESCO last October adopted theConvention of Safeguarding Intangible CulturalHeritage and then the conference pressed forratification. And our country, which has done a lot ofadvanced work for preserving Intangible CulturalHeritage, is working to ratify this Convention.

And as I mentioned in my opening address, thismatter will be submitted to the cabinet meetingtomorrow. Japan has already set in place nationallegislative regulatory measures such as the law forthe Protection of the Cultural Property, and cultureand art promotion laws as required by theConvention. So, no new legislative measure is

required to conclude and ratify the Convention. Weexpect to see an early conclusion or ratification ofthe Convention on our part. Ratifying and concludingthis Convention will certainly enhance publicawareness of the importance of intangible culturalproperties in the country and also of the obligationof the state which is advanced in the safeguarding ofintangible cultural heritage, and will encourage moreinternational cooperation in this field. After theconclusion of the Convention, of course specific workmust begin for the nomination of further heritageelements and, as the country advances in this field,will actively address this task.

5. Current Issues Regarding Protection ofIntangible Cultural HeritageJapan has strong ties with other cultures in Asia andPacific region and shares a common cultural basewith many of those cultures in the area of intangiblecultural heritage. That warrants close collaborationand cooporation with you. Last but not least, I wouldlike to leave with you some of my thoughts aboutthe future challenges for safeguarding intangiblecultural heritage, although I’m sure that many of youhave thought about those issues already.

Future challenge, I would like to touch upon are realand urgent issues for Japan as well in the field ofcultural property preservation. And number one isthe conservation and succession or transmission ofthe tradition of Intangible Cultural Heritage. In ourcountry, Intangible Cultural Heritage is classified into(as I mentioned), Intangible Cultural Properties suchas traditional performing arts and traditional appliedarts, Intangible Folk Cultural Properties and someselected techniques and skills for conserving CulturalProperties.

In the near future, as repeatedly mentioned, so calledfolk skills and techniques will be covered undersafeguarding measures. Among those, different kindsof performing arts and applied arts are valued fortheir artistic quality and therefore they’re refined andenhanced through constant training of the skillsinvolved. And so besides the succession of thetraditional style or patterns, creativity or creativequality is necessary. On the other hand, IntangibleFolk Cultural Properties, such as traditional customsand practices or folk performing arts, and also a newlyproposed category of folk skills and techniques, aredesignated not for their artistic quality but the


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recognition that they are indispensable forunderstanding the change of people’s life in Japan.

Because of such differences, in Japan those intangiblecultural properties and intangible folk culturalproperties are separately dealt with in preservationand conservation but, nonetheless, all of the differentgroups of important heritage are loaded with traditionhanded down for many years. And thereforeconservation and succession or transmissionquestions are common problems. In many countriesaround the world including Japan, rapid changes inpolitical, economic and social structures bring abouta lot of changes and reduction in performers andpractitioners or those who love such arts. And sometraditional cultures are now in danger. Furthermore,disintegration of local communities and societies isa big issue. In some localities therefore attempts arebeing made to use traditional performing arts or folkperforming arts as a means to achieve social oreconomic revitalization.

And in such circumstances, as is provided for in theConvention, we must give a high priority toawareness-raising about the importance of suchcultural heritage and promotion and advocacy forsafeguarding intangible cultural heritage. Asdiscussed in the drafting process of the Conventionand as is the case with tangible cultural heritage, butespecially for intangible ones, some intangiblecultural heritage elements may begin to receivenegative impact in their inherent traditional value inreturn for economic gains.

Especially traditional customs and practices and folkperforming arts have been practised and supportedby the residents of local communities. In that sense,they have been sustained through the community lifeof the local people. In other words, with changes ofthe time or with changes of generations, comechanges in the way of thinking of the local residentsof the community. Natural and gradual change ofintangible cultural heritage therefore is in a senseinevitable. And certainly it is not that no changes atall are allowed or permissible. But then whenintangible cultural heritage has such peculiar features,what does it mean to safeguard them? And how canit be done? As Mr. Smeets of UNESCO mentioned,this also relates to the question of authenticity. Thoseissues, I believe, need to be further debated togetherwith the importance of securing cultural diversity.

The second agenda I would like to touch upon herefor the future is the safeguarding of IntangibleCultural Heritage linked with religion or beliefs.Japan, as a policy of the country, maintains theseparation of state and religion. As a result, thegovernment does not provide any direct safeguardingmeasures to rites or events where a religious ministrychiefly presides over religious events. On the otherhand, the government provides very activesafeguarding measures for those rites or events whichare related to folk beliefs and practise supported bylocal community people.

In the world, however, very few countries make suchdistinction between the two. So as a future agenda,we need to consider the ways to protect intangiblecultural heritage related to a certain religious beliefor whether such religious belief-related events canbe considered intangible cultural heritage.

Last October, ICCROM held the first forum on livingreligious heritage in Rome. This forum chiefly dealtwith Tangible Cultural Heritage, but in the future forIntangible Cultural Heritage we need to consider therole of religious belief in protecting IntangibleCultural Heritage.

And the third future issue we need to examine is theintangible aspects or elements of tangible culturalproperties or interrelationship between tangible andintangible cultural heritage. On our part, in orderfor us to provide forum discussion on such theoreticalissues in collaboration with ACCU, the Japanesegovernment plans to hold an international symposiumin October this year. On this particular question, thissymposium is tentatively named “internationalsymposium” with the theme of interface betweentangible and intangible cultural heritage. And we arenow preparing for this symposium.

In this meeting I sincerely hope that you will alsohave a very good discussion on the future agenda.Also thank you for your kind attention.


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3. ACCU’s Programmes and Vision for ICH SafeguardingSATO Kunio, Director-GeneralAsia/Pacific Cultural Centre for UNESCO(ACCU)

1. Introduciton: Intangible Cultural Heritage asAlive ExpressionIt is said that one language disappears from the earthevery two weeks. With the death of one language,we lose the whole culture contained and expressedby that language forever. This is a very serious crimeagainst humanity. Culture is nation or ethnic groupitself, or we ourselves, and is the expression of ourown self-recognition. Culture is value and ideal. Itis, in a word, “spirit”. Without squarely facing ourown culture, we can neither succeed in finding ourpresent position and future course nor developcreative activities. Creation draws on the roots ofcultural tradition. Tangible cultural heritage likehistorical monuments is very important to enable usto identify ourselves on a historical plane, but it isnot alive.

What is more important is to connect us to livingcultural heritage so that we can communicate with itand live in it to enrich our daily life. Identifying andpreserving our cultural tradition becomes more andmore important, especially in the age of rapidlyexpanding globalization. Unless we can succeed inidentifying, respecting and preserving our owntraditional cultural heritage, we would no doubt beimmersed in successive big waves of political andeconomic onslaughts on cultural integrity. Quickdisintegration and disappearance of many beautifulcultures would then follow. To tackle this big issue,we have to stop sometimes and think seriously overour past, present, and future. ACCU’s main concernis neither political nor academic, but practicalengagement in preparing and implementingprogrammes and projects for the safeguarding of ourcultural heritage in the region.

In the northern part of Japan, especially Ogapeninsula, we find a one-thousand-year-old traditionon New Year’s Eve called “Namahage”. A couple ofyoung men in the village wear fierce-looking masksand straw capes, and visit the houses in the village toask, for example, whether there is a disobedient childor lazy person in the family. Most likely, childrenvery much fear their visit, often cry, and seek theparents’ help.

The demons demand a promise from the children thatthey will behave well, and after are entertained withsake and food by the family. Finding satisfaction intheir treatment, they then leave the house. In this ritethere is, among other things, a good tradition in thatthe children can witness how the parents can protectthem from the threatening demons, so that familyties and values can be well respected by the children.No doubt their visit is welcome, for they bring to thefamily happiness and good fortune. Any folklore,thus, should be considered as an integral part of ourdaily life, and should not be separated as a culturalevent.

2. ACCU’s Initiatives in Cultural Programmes inthe PastACCU is proud of having taken initiatives in culturalprogrammes many years ago with active participationof UNESCO and UNESCO member states in Asia.Some of you might have known ACCU’s pastcontribution to the propagation and development ofpolicies and programmes in the field of thesafeguarding of intangible cultural heritage in Asia.For those who participated in our programmes in thepast my talk may not be so informative, but perhapsit seems useful to enable all of you to recall andunderstand the scope and width of ACCU’s activitiesonce more, so that we will be able to launch newactivities, taking into account changing situations anddemands for our regional contribution to Asia andthe Pacific in the age of globalization.

Regional Co-production Programmes of Literary,Music and Other MaterialsIn order to share and appreciate cultural diversity inAsia, ACCU and some Asian countries started todocument folk tales, traditional handicrafts, festivals,and traditional music and make available a series ofbooks, LP records and cassette tapes with guidebooksaround the middle of the 1970s. Festivals in Asia,Folk Tales from Asia for Children Everywhere,Traditional Handicrafts in Asia and the Pacific, Folkand Traditional Music of Asia, and MusicalInstruments of Asia and the Pacific are someexamples of joint production since the 1970s.Folktales from Asia and Festivals in Asia were


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published under ACCU’s copublication programme.29 titles have been produced in English prototype tobe translated into local languages. For example, FolkTales from Asia was published in 32 Asian languagesplus 9 languages in other regions. The number ofcopies produced of this series is so far about 2 million.

In 1993 mobile teams of experts for thedocumentation and promotion of intangible culturalheritage started to visit some Asian countries toenable local personnel to equip themselves withtechnical skills of recording and preserving visuallyendangered cultural heritage. These programmesculminated in producing in 2000 the Data Bank onTraditional/Folk Performing Arts in Asia and thePacific – A Basic Model. This is a very brief summaryof ACCU’s collaborative regional activities.

Now, let us look at them in detail. I would like, firstof all, to sum up by characterizing our programmesrelated to intangible cultural heritage in the regionby genre. This does not necessarily mean that theidentified types in the ACCU programmes wouldexclude other genres of cultural heritage to be coveredin future programmes, but rather that we want torecognize the limited scope of our past activities andpriorities.

Our list of past programmes includes traditionalmusic, folktales, festivals, folkdances, and traditionalhandicrafts. Secondly, they were presented in theform of LP record, slide, audiocassette, videocassette,and books and other printed materials. Very recently,some of them have been presented as a database on awebsite. Thirdly, the aim of producing these materialswas in the beginning to collect and disseminateprecious intangible cultural heritage, most of whichwas unknown outside small circles of the local peopleand the countries concerned, for the promotion ofbetter international understanding and informationsharing.

Along with a few fund-raising campaigns for theconservation of historical monuments such asMoenjodaro in Pakistan, the aim became more gearedto the production of educational materials andteachers’ guidebooks for upper-elementary andsecondary schools in the region.

Documentation workshopsThen, ACCU started to send mobile teams of expertsto a few Asian countries to train local personnel in

visually recording and preserving intangible culturalheritage in danger of disappearance. One example ispresented here. In January 2001 ACCU organizedthe National Workshop on the documentation andpromotion of intangible cultural heritage in India, incollaboration with the Centre for Cultural Researchand Training to enable the participants to gainknowledge and skills on various methods of usingaudio-visual equipment for the documentation andpromotion of intangible cultural heritage and todocument on video specific performing arts in dangerof dying out, on the basis of understanding of theircurrent situation in Indian life.

I will show you some pictures taken at the Workshopto illustrate major characteristics of the 10-dayworkshop, with the participation of three Japaneseexperts as well as many Indian experts.

Databank on Traditional/Folk Performing Arts inAsia and the Pacific The latest addition in 1998 was to compile a databaseof precious performing arts and present them onwebsite. This was initiated by the 1999 RegionalSeminar on Preservation and Promotion ofTraditional/Folk Performing Arts held in Bangkokin February 1999, in collaboration with the ThaiNational Commission for UNESCO.

This Data Bank provides us information on selectedtraditional and folk performing arts, organizationsinvolved in preserving them, and national systemsof safeguarding intangible cultural heritage in Asiaand the Pacific. The listed performing arts are samplesof endangered intangible cultural heritage reportedby experts in each country concerned; this shouldnot be taken as a comprehensive list but simply as afirst step for compiling a more complete database inthe near future. It is time now to review this DataBank for its validity and utility.

2002 Regional Workshop on Promotion ofProclamation of MasterpiecesUNESCO made the f irst Proclamation ofMasterpieces of the Oral and Intangible Heritage ofHumanity on 18 May 2001. Among the 19 culturalspaces and forms of expression proclaimed asMasterpieces, 6 of them were from Asian countries.This programme had considerable impact onpreservation efforts among UNESCO member states.At the 2002 Regional Workshop for CulturalPersonnel in Asia and the Pacific co-organized by


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ACCU and UNESCO in March 2002, we highlightedsome examples of national and local initiatives forsafeguarding cultural heritage. They are, amongothers, awareness raising and mobilization amongcustodian communities, and national and regionalrecognition of the urgent need for safeguarding themasterpieces, and the intensification of legislative,organizational and administrative actions. TheWorkshop aimed to promote the system and conceptof the Proclamation programme, and to encouragefuture participation from the UNESCO member statesin the region. As we are already aware, 28 mostremarkable examples of oral and intangible culturalheritage were proclaimed in November 2003 as theMasterpieces for the second time. Congratulationsto those countries and communities, whose intangiblecultural heritages were proclaimed by UNESCO lastyear. 12 were from Asia and the Pacific region. Thisfigure demonstrates the richness of the region inintangible cultural heritage and eloquently indicatesthe impact of the ACCU/UNESCO RegionalWorkshop, which encouraged Asian colleagues tosubmit their candidatures to UNESCO. The slideshows a number of heads of Bunraku puppets, whichwas proclaimed as one of the Masterpieces last year.You will visit the Bunraku Theatre on Saturday.During your presentation of the Masterpieces wewould like to know how you have been preservingthese precious heritages and how you will continueto do so. Your common and individual efforts atnational and community level will be very importantin suggesting to us our future strategies. We will alsobe pleased to hear your preparedness for theratification of the Convention in your country, whenyou present your Masterpieces.

The Convention of Safeguarding ICHA new age is beginning to dawn. The 32nd GeneralConference of UNESCO adopted the Convention forthe Safeguarding of the Intangible Cultural Heritagein October 2003, and this was a really big stepforward to mobilize national and international actionfor preserving our common heritage of precious valuethroughout in the world. The Convention requiresthe ratification of 30 States to go into force, thereforeit is urgent for us to persuade our governments totake immediate action to ratify the Convention. Mr.Smeets kindly took the trouble to participate in themeeting in order to explain UNESCO’s work relatedto the Convention. We can benefit from UNESCO’slong experience in this area. In fact, it took at leasttwo decades of discussion and preparatory activities

for UNESCO to arrive at this stage of developmentfor the protection of intangible cultural heritage. Theadoption of the Convention is a clear message for usto revitalize our activities.

What kind of activities will be undertaken to raiseawareness about the importance of intangible culturalheritage, and to safeguard it as soon as possible? Whatkind of programmes will be envisaged for UNESCOmember countries? And what kind of regionalprogrammes can be designed for ACCU and itspartners? Here I only dare to ponder over possiblecourses of action for ACCU, which all the participantsare kindly requested to discuss during this Meeting.When we look forward, the most reasonable methodis to first look back over our past collaborativeactivities. As I indicated before, there have been anumber of ACCU programmes, which may be usedas starting points for our discussion on future jointactivities in the region.

ACCU’s Provisional Joint ProgrammesBased on a rough review of ACCU’s pastprogrammes, I would like to embark upon discussionof possible future programmes to be undertakenjointly with you and UNESCO. I simply intend tosuggest my personal ideas, after taking intoconsideration your responses to the questionnaire.The first area will be related to the definition ofintangible cultural heritage. I want to remind you thatit is not easy to agree on the definition of intangiblecultural heritage, as we observed at the successiveUNESCO Inter-governmental Experts’ Meeting onthe Convention for the Safeguarding of the IntangibleCultural Heritage. UNESCO faced a very difficultsituation regarding the definition of “intangibleculture”, when it discussed the draft convention in2002 and 2003. A list of examples helping theinterpretation of the definition was attached to thedraft. To indicate how widely it was consideredduring the discussion at UNESCO, I quote a fewexamples from the draft, which was finally droppedfrom the adopted convention. Under social practices,rituals and festive events, there were “body-art(tattooing, piercing, painting)”, “culinary arts”, and“practices relating to hunting, fishing and gathering”.Under knowledge and practices about nature, therewere “prophecies and oracles”, and “magical,spiritual, prophetical, cosmological and religiousbeliefs and practices relating to nature”. At themoment, until UNESCO is able to agree on thedefinition, I do not like to dare to define it even in


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very broad terms. We know the Convention providesthe definition in its Article 2 in rather general terms,which might require a number of years to be clearlyagreed in practical terms. Perhaps, we can reasonablypresent a rough idea of intangible cultural heritagein the form of a Handbook, preferably withvideocassette, as an indication of our future activitiesin the region and UNESCO member states’ work inrequesting UNESCO’s support on the safeguardingof intangible cultural heritage. The Handbook shouldcontain simple explanations with a lot of illustrations.Eventually a clearer definition will come out throughdiscussions by the UNESCO’s Intangible CulturalHeritage Committee, as we hear UNESCO is nowpreparing a brochure on the Convention and, moreimportantly, UNESCO is going to prepare a manualincluding a glossary. We will be able to make use ofit in future activities. The UNESCO UniversalDeclaration on Cultural Diversity adopted inNovember 2001 says that culture should be regardedas the set of distinctive spiritual, material, intellectualand emotional features of society or a social group,and that it encompasses, in addition to art andliterature, lifestyles, ways of living together, valuesystems, traditions and beliefs. To initiate ouractivities, this broad definition should be consideredas a starting point. It seems rather wise for us not tospend any more of our time on discussing thedefinition of intangible cultural heritage, and to adopta tentative framework for our practical activities. OurHandbook with videocassette (Video Guide) forcultural experts will be also utilized for awarenessraising among the general public, especially amongschoolteachers and non-formal education facilitators.

I have to mention here that ACCU’s Asia/PacificCopublication Programme(ACP) agreed on theproduction of a book on intangible cultural heritagein the region in December 2002 so as to enablechildren in Asia to better understand importance oftheir heritage in daily life. We expect this book willcome out in 2005 and contribute a lot to awarenessraising especially among the youth.

Referring to one of the recommendations at the 1999Bangkok seminar, a second area will be theorganization of workshops or seminars on heritagemanagement, taking into consideration long Japaneseexperience in conservation management, both inpublic and private sectors, and at local and nationallevels. Needless to say, Japanese experiences cannotbe automatically applied to other Asian countries, but

many ideas could be found in half a century’s historyof Japanese public and private support for theconservation of intangible cultural heritage.Inventory- making may be an important element ofheritage management. Some Asian countries havealso accumulated rich experiences in this area, so thattheir expertise and know-how should be madeavailable to other Asian colleagues.

A fourth area is documentation of intangible culturalheritage by each country, especially in view of itsapplication for international assistance throughUNESCO. In this endeavour the capability andexperience in documentation vary according to thecountry. Not many staff are available for thedocumentation of intangible cultural heritage in somecountries. Training needs to emphasize, among otherthings, systematic data gathering, data presentation,and application of technology. This area should bewell coordinated with UNESCO’s work forinventory- making and its requirements.

The above areas of possible joint activities for theregion may eventually culminate in the productionof a Data Base of Intangible Cultural Heritage in theregion, which will regularly be updated bycollaborative countries. This will become a commonsource of information for any regional andinternational action. Linking national organizationsthrough information-sharing on concrete measuresfor safeguarding the cultural heritage is essential.Networking of personnel engaged in the preservationwill be formed gradually through workshops, forums,and seminars at national and regional levels.

Topics Wished to be Discussed during the MeetingWhat I have outlined will not be an easy task. It willrequire a lot of funds, expertise and time. Some ofyour time during the meeting should be devoted to adiscussion on how to raise funds for this challengingtask of enormous importance and urgency. I wantyou to share one strategy. I believe there is no needeither to start our activities in every area or to expecta high standard in every programme. What we shouldagree on at this meeting is our decision that we willlaunch a new initiative based on our jointlyaccumulated experiences in this field. Otherwise, wewill lose precious cultural heritage in the regioncommon to humanity day by day. Let us make jointefforts to preserve the cultural diversity of our world.

Fernand Braudel, a famous French historian, wrote


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in his Grammar of Civilizations that in the field ofhumanities, like Philosophy, the simplest words varytheir meaning often and inevitably, reflectingthoughts animated by their use. He made this remarkabout the word “civilization”, but his remark can beautomatically applied to the word “culture”. Howeverdifficult it is to define intangible cultural heritage, Iwould like you to discuss from which area we canstart, for example, by building up a database onintangible cultural heritage. We have to limit ourscope of activities for practical purposes in thebeginning. For your consideration and discussion Ipropose performing arts as an area for our jointactivities, which imply dance, drama, music, songsand puppetry. These categories represent major areasof traditional concepts of intangible cultural heritageand reflect ACCU’s previous programmes. Ourcommon experiences should be better utilized in ourfuture collaboration.

To limit the categories to be covered is important,but what is more important is to decide what kind ofprogrammes should be designed so that importantcultural heritage in the region, especially that indanger, could be better safeguarded without ourlosing much time. A rough review of ACCU’sprevious activities suggests to us a few usefulexamples such as mobile workshop, production anddissemination of documentations, and database.

I have not touched upon financial aspects of our jointactivities. As I understand, almost all countries inthe region have financial problems, big or small.Therefore, it does not seem easy to raise the necessaryfunds within the existing budget for the preservationof cultural heritage. It is time for us to jointly considera project to seek outside funds. When donor countriesand international aid agencies become more and moreinterested in assistance in software, we may find abetter chance of getting financial support for ourprojects, provided that we could successfully designthem together. This issue should be taken up as atopic for discussion during this meeting.

We have to discuss also ownership of culturalheritage. Whether we can succeed in safeguardingcertain heritage depends often on the ownership ofthat heritage. There are two aspects to this issue. Thefirst one is whether the performers or the communityconcerned are ready to preserve cultural heritageunder that ownership. Once the first question isanswered affirmatively, the second one is how

effectively it can be safeguarded. It seems to me thata first step would be awareness raising, among thoseconcerned, of the importance of safeguarding heritageso as to enable us to maintain our cultural traditionsand appreciate cultural diversity. For a long time wehave assumed that such cultural heritage as rite andtraditional dance do not belong to anybody but thecommunity concerned as a whole. Therefore we havenot paid appropriate attention to rights of performersas part of intellectual property right. ACCU iscurrently engaged in the production of a publicationon copyright under the auspices of Bunkacho, Agencyof Cultural Affairs, so as to promote betterunderstanding of copyright and to eradicateunauthorized exploitation of intellectual property inthe region as part of anti-piracy campaign. Theoutcome of this programme will be utilized for thesafeguarding of intangible cultural heritage as wellas a joint programme in the region.

Thank you.







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4. Resource Person’s Comments on the Second “Procla-mation of Masterpieces of the Oral and Intangible Heri-tage of Humanity”

Mr. Ralph RegenvanuDirector, Vanuatu Cultural Centre, Vanuatu

(Refer to the list of the second Proclamation in theAnnex 1)

Over-representation of Asia-PacificOut of 28 items in the list:

Asia-Pacific (12)Latin-America & Caribbean (6)Sub-Saharan Africa (2)Arab states (3)Eastern Europe/Central Asia (4)Europe (1)

This alone demonstrates the fact that, when one talksabout intangible cultural heritage (ICH) it issomething that is very relevant and applicable to ourregion. ICH expressions are in fact the main part ofcultural heritage in Asia and the Pacific, whereasaccording to the criteria of the World HeritageConvention, monumental sites are considered toconstitute the gerater part of European culturalheritage.

Why were 50 % of the candidatures not approvedby jury for Proclamation?Almost all were qualified to be masterpieces:amazing expressions of culture chosen by thecountries themselves. So, why were half of them notapproved?

While the candidature file has to demonstrate theoutstanding quality of the expression, the jury tendsto assume this outstanding quality is usually not themain factor involved in the non-approval of a file.Rather, main factors for not approving are (1) thecandidature files’ not following the set process and(2) weakness of the action plan. With regard to theaction plan, the Jury laid down extra conditions tobe met even by those expressions that wereproclaimed.

(1) Process-related factorsi) Multinational ICH expressionIf the cultural expression exists in a number ofdifferent countries, all of the countries have to submit

the file together. Therefore, many candidatures wererejected because the expression exists in more thanone country but only one country submitted thecandidature. It is one of the aims of this programmeto recognise that ICH expressions do not follow stateboundaries.

ii) It has to be “a specific creation”The candidature has to be “a specific creation” and“not simply a vast field of creation, such as a musicalinstrument that is widely used.” It needs to refer toan accurate identification of a particular expression,so it cannot be a culture as a whole, a world-view, ora language.

For instance, the Andean Cosmovision of theKallawaya, Bolivia, was approved on the conditionthat the title should be changed. The candidature filewas specifically about the medicinal practices of theKallawaya group and how the practices were aconcentration of all the values of their society, not awhole world-view.

It has to be a “concentration” or “corpus” of a culture,meaning that the particular expression reflects thewhole culture within it. A particular expressionembodies all the values of the culture and it is anessential centre point to the culture that everythingelse revolves around. This is the kind of expressionthe jury was looking for.

However, the Jury can consider approving thecandidature if the file demonstrates the particularexpression is special to the country, whenacknowledging that variations exist in othercountries.

e.g. Maqom or Maqam from Tajikistan andUzbekistan, which also exists in other Islamicstates and Mongolian Morin Khuur horse-fiddle,also found in China.

iii) Compliance with UNESCO idealsAdherence to the Universal Declaration of HumanRights is required. For instance, Tonga’s Lakalaka


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was proclaimed but with some reservations, becauseit is very closely associated with royalty. So sucharguments came up: ‘By proclaiming Lakalaka, arewe saying the monarchy system in Tonga is good?Shouldn’t we support democracy, as some people inTonga are doing?’ But the Tongan candidature filesufficiently demonstrated that they were seekingways of making it into something that belongs tocommoners as well. Another example is the VedicChanting of India. That expression is practised bythe Brahmin caste. The jury approved the expressionon condition that they bring practitioners from othercastes as well.

(2) Weakness of Action plani) Transmission not targetted in action planWhat this whole programme is targeting is to ensuretransmission of the expression from one generationto the next. Therefore, if transmission was notstrongly emphasised and targetted in the action plan,most of those files were rejected for this reason.

Many files had talked about holding scientific forums,or documenting all the forms and putting them intolibraries or archives. These are important aspects ofsafeguarding ICH, but in many cases they looked atthis aspect only and they did not look at thepractitioners: how much practitioners will be enabledto transmit this expression, how many opportunitiesare going to be created for the young people whowant to learn it. In many of the files that were notapproved, there was too much emphasis on theactions which favour scholars and culturalprofessionals, and not involving practitioners.

ii) Not enough involvement of practitionersIt was not demonstrated that practitioners aresufficiently involved in developing the action plan,agreeing to the actions in the plan, and being activelyinvolved in implementation of the plan.

It was often scholars or policy makers who puttogether the candidature file without consultationwith practitioners. That is why you have emphasison scholarly meetings. Usually, if you involvepractitioners, you would have much moreconcentration on transmission.

iii) Lack of evidence of state commitment, and thatsafeguarding actions were already well underwayThere needs to be some evidence that the state is notjust submitting the candidature file without having

tried to preserve the particular form in the past. Thisis particularly important because no money isprovided to a successful candidate just because theyare proclaimed.


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5. Regional Perspective of UNESCO’s Programme ofIntangible Cultural Heritage

Ms. Beatrice KaldunConsultant-CultureOffice of the UNESCO Regional Advisor for Culture in Asia and the Pacific

Dear Mr. Suzuki,Dear Mr. Sato,Dear Chairman,Colleagues, Friends,Ladies and gentlemen,

Let me begin by thanking ACCU, Bunkacho and theJapanese National Commission for UNESCO fortheir foresight in organizing this regional meetingon the safeguarding of intangible cultural heritage.Let me also take this opportunity to send yougreetings from Mr. Richard Engelhardt, UNESCORegional Advisor for Culture in Asia and the Pacificwho cannot be here today and on his behalf I ammost pleased in sharing with you some aspects ofthe regional programme of UNESCO on intangiblecultural heritage.

UNESCO’s global mandate is to undertake action topromote intangible cultural heritage to encourage allStates, with the active cooperation of researchers,creators and custodians of culture, to identify moreprecisely the forms and items of the cultural heritage,to make States and communities aware of the valueof and their responsibilities in respect of such heritagethrough legislative, institutional, educational,promotional and communication activities and lastly,to mobilize the international community through theestablishment of technical and financial mechanismsfor cooperation and assistance. Foremost this includesUNESCO’s commitment to be engaged in thedissemination of the international convention for thesafeguarding of the intangible cultural heritage.[UNESCO 32 C/5 page 172 para 04010]

As we all know, intangible cultural heritageencompasses complex, broad and diverse forms ofliving heritage in constant evolution and needstherefore to be part of the cultural diversity issuethrough a global and regional strategy. In fact it isforeseen that later in 2004, all UNESCO CultureProgramme Officers from the region will meet todiscuss and strategize about means and ways to assistmember states in the safeguarding of the intangiblecultural heritage.

Adressing intangible cultural heritage and culturaldiversity, let me refer to Mr. Engelhardt’s presentationheld at the 2002 ACCU Regional Workshop forCultural Personnel in Asia and the Pacific on thePromotion of the Proclamation of Masterpieces ofthe Oral and Intangible Heritage of Humanity. In thatpresentation Mr. Engelhardt stressed the importanceof preserving the entire diversity of cultural heritage,in fact the need to preserve “cultural spaces”. Whatdo we mean by this?

Let me first expand on the importance of preservingthe entire diversity of cultural heritage. With a criticalassessment of the 1972 World Heritage Convention,Mr. Engelhardt stressed its shortcomings, namely thatmany countries do not have anything protected underthe 1972 Convention (Mr. Smeets talked about theimbalance of the 1972 WH Convention yesterday).In the larger context, the problem is that the 1972Convention talks about safeguarding specific, andby implication, limited, outstanding universalexamples of heritage, and does not stress enough theissue of the importance of preserving the entirediversity of cultural heritage. Mr. Engelhardt urgesus that we must be very careful to make sure that itdoes not become a problem when we are now tryingto extend protection to intangible cultural heritage.

Culture does not exist in the abstract but in real timeand space. So we need to acknowledge theimportance of spaces that allow the transmission ofculture. By cultural spaces UNESCO is referring toa much wider “space” than the geographical space.This includes virtual (intellectual cyberspace) as wellas ritual spaces in which the intangible culturalheritage is transmitted. Through resources such asknowledge and cultural spaces, we can undertakecultural mapping (mind mapping), that is to say, wecan produce knowledge maps which provide us withthe contemporary reality of culture, thus giving usan ultimate understanding of the link betweenphysical heritage and intangible cultural heritage,between contemporary and traditional heritage. Infact UNESCO has recognized that it is not throughinserting intangible cultural heritage into the tangible,


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like an afterthought, that we can preserve it, but byturning the process completely around, and let theintangible expressions guide us towards theidentification of larger preservation policy whichincludes the tangible but only as a part of the entiresafeguarding process.

This theoretical concept has a concrete plan of actionand strategy which UNESCO under the Office of theRegional Advisor for Culture in Asia and the Pacificwill be implementing in the region in the next yearsthrough various layers of actions for the safeguardingof intangible heritage in its widest sense:

(i) to mobilize broad-based, acting from thegrassroots up, to reach and mobilize a broad baseof people of different layers of society, differenttypes of “transmitters”, and

(ii) in order to achieve this it is key to empower theprofessionals (the carriers of intangible culturalheritage, the artists, the practitioners etc.) and

(iii) ultimately to affect change and influencepolicies, thus undertaking upstream policy workis another important area of UNESCO work infavour of increased cultural diversity.

Let me give you a few concrete examples of actionsand activities in these three areas of grass-rootsmobilization, empowerment of professionals andaffecting policy change within the wider context ofintangible cultural heritage.

Grassroots Mobilization – Going Broad-BasedOne of these areas are crafts or handicrafts.Handicrafts are one part of cultural industries and itis through handicrafts that UNESCO RACAP iscurrently going broad-based through the Programmeof the UNESCO SEAL of Excellence for HandicraftProducts in Asia. The UNESCO Seal of Excellencefor Handicraft Products is a unique programme whichemphasizes quality control and marketability ofhandicraft products by awarding a SEAL ofExcellence to Handicraft Products that fulfill fivecriteria ranging from quality craftsmanship, toenvironmental friendly production, to innovativedesign within traditional forms, marketability andcultural aesthetics. The programme was initiated inSoutheast Asia (ASEAN countries) in 2000 as a pilotand is now being expanded into South Asia (SAARC)and Central Asia.

It is through this initiative of the SEAL of Excellence

for Handicrafts that a broad base is mobilized andaccessed with the aim to contribute not only to marketaccess, marketing, quality control and authenticityof design and production of handicraft products, butto contribute to the development of creativity and toa wider access and understanding of cultural andartistic expression within the context of culturaldiversity and human creativity.

Empowerment of the Profess ion , “ theProfessionals”Let me now introduce to you one of the UNESCOregional act ions on the empowerment ofprofessionals within the field of intangible culturalheritage. UNESCO extended support to the formationof an Asia Pacific Performing Arts Network (in shortAPPAN), which is a unique network of artists,practitioners, scholars and professionals who engagein the protection, enhancement and revitalization oftraditional and contemporary creativity throughresearch, exchange, education and networking. TheProgramme is linked with the UNESCO AschbergBursaries and Art Fellowships under the UNESCOInternational Fund for the Promotion of Culture(IFPC) in furtherance of mobility and training foryoung artists.

The UNESCO support of the APPAN network iswithin the context of strengthening institutions,bodies, networks, performance venues and other suchspaces in which intangible cultural heritage istransmitted from teacher to pupil, from master toaudience. By strengthening the APPAN network, acarrier, if intangible cultural heritage is beingstrengthened and empowered.

Within this context, a regional festival andsymposium is under preparation / being organizedby APPAN in cooperation with UNESCO Bangkokunder the title UNESCO-APPAN Festival andSymposium on Puppetry: Memory, Recovery andAdaptation – The Asian Experience. As the titleimplies the focus will be on puppetry with thefollowing set of objectives:

i. to share and exchange all aspects of these art/folk forms among the artists, practitioners andscholars of the region;

ii. in addition, puppetry will be examined withinthe context of cultural space so that we gain abetter understanding about these art forms as


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carriers and transmitters of cultural knowledge,with the ultimate aim to receive/obtain layers ofknowledge maps / cultural maps; and finally

iii. to discuss with the performing arts practitionersthe 2003 Convention for the safeguarding of theintangible cultural heritage with the aim to learnfrom one group of practitioners their views,expectations and needs from the 2003Convention. The ultimate aim is to enrich thediscussions on the application of the 2003Convention, basically the preparation of theguidelines for the Convention. (Article 15 ofthe Convention: Participation of communities,groups and individuals; Articles13 and 14)

The festival and symposium will be held from 5-9June 2004 in Bangkok, Thailand and I hope that youare interested in this activity and that some of yourcountries‘ practitioners on puppetry can berepresented.

Affecting Policy ChangeThe link between the safeguarding of intangiblecultural heritage and the promotion of creativeenterprises and cultural industries is stronglyadvocated by UNESCO. Cultural industries,including books, records, audiovisuals, multimedia,crafts and fashion design, are recognized as creativeforces that generate jobs, income and revenue andare at the same time a central vehicle for promotingcultural diversity at local and international level.Thus, cultural industries are increasingly becomingone of the central tools for promoting creativity,contributing to economic development and ensuringcultural diversity. However, the potential of thecultural industries is, to date, seriously under-mobilized in the Asia-Pacific region where culturalindustries seldom figure in sector analyses or innational development plans. Since cultural industriesare, by nature, both cultural and economic, the overallpurpose of any national growth strategy must be, onthe one hand, to maximize their potential contributionto the country’s economy and on the other, to facilitatenational, regional and world dissemination ofendogenous cultural creativity, be it conveyed byliterary, musical, audiovisual, or craft creations andproducts, a clear contribution not only to the economybut to cultural diversity and creativity. Creativityand development are one of the three main lines ofaction for the UNESCO 2004/2005 biennium, and

they are specifically oriented to safeguard culturaldiversity.

It is within this context that UNESCO’s Asia- Pacificprogramme / UNESCO Regional Office for Culturehas put strong emphasis on the link betweensafeguarding intangible cultural heritage in its widestsense and promoting cultural industries or culturalenterprises. It is the cultural industries that allow usnot only to preserve, but to transmit the intangiblecultural heritage.

The key area of UNESCO Asia-Pacific action is todevelop the necessary conceptual framework so thatcultural industries and creative enterprises will beintegrated into the development policies of theregion’s government and thus to provide policy-makers with the information, analysis, and decision-making tools necessary to establish national policiesin this field.

A start has been made in this direction during thelast 2 years through a series of individualconsultations with Asia-Pacific economist experts inthe f ield of cul tural enterprises, and thecommissioning of a series of white papers in theattempt to collect data on a variety of the mostsuccessful cultural industries (i.e. publishing, music,film, handicrafts, and tourism). From this preparatoryinformation collation, an in-depth ‘problem analysis‘document has been drafted, a Position Paper whichUNESCO Bangkok, in cooperation with itsspecialized partners, will be discussing at a SeniorExpert Consultation in early 2005. The ExpertConsultation will be a meeting of senior experts andis structured to encourage multi-lateral discussionsbetween academics, policy makers, business peopleand professionals from the cultural industries. Thisconsultation will then provide a ConceptualFramework (Manual) for the development of culturalindustries in Asia- Pacific. The topics addressed inthe Position Paper include: (1) economic valuationof cultural assets; (2) statistical indicators for culturalindustries; (3) investment for creative enterprise; (4)the role of ICT [info communication technology] increative enterprise; (5) copyright; (6) urban andregional planning; and (7) cultural industries as abridge to the information society.

The cultural industries programme encompasses along-term commitment for the strengthening ofcultural industries as a means to achieve sustainable


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social development and economic growth in AsiaPacific countries, thereby going beyond preservingintangible cultural heritage and ensuring culturaldiversity through focus on its transmission andthereby imbed it into the very foundation of thedevelopment of the region in the 21st century.

Transmission - Cultural Diversity - CreativityWe have learnt that the driving forces of the intangiblecultural heritage activities in the region are culturaldiversity and creativity and that there is a strongemphasis on t ransmiss ion, uninterruptedtransmission. This makes a natural link to capacitybuilding, sharing of knowledge and in particular toeducation. Within the framework of the globalUNESCO Education for All Programme, theimportant link between education and creativity andthus cultural diversity is quality education. Let mebriefly outline to you the overall strategy and actionof this important programme that addresses the younggeneration and our future through Arts Education andArts in Education.

The Programme is spearheaded by the internationalappeal of the Director – General of UNESCO in 2000for the promotion of arts education and creativity atschool, thereby addressing the contribution of artseducation and creativity to quality education and thishas prompted a number of regional meetings andconferences and quantitative research on thecontribution of art education and more particular artsin education to quality education.

To this end, on a global level UNESCO has organizedregional meetings on arts education and in earlyJanuary 2004, UNESCO Bangkok Office organizedthe Asian Regional Meeting and Consultation inHong Kong with the cooperation of the Hong KongInstitute for Contemporary Culture.

The essential concern for the Asia-Pacific region is(i)to ensure the establishment of methods andprogrammes for the development of indicatorslinking arts education and arts in education to overalleducational and intellectual achievement, (ii) toencourage and promote human creativity (nurturecreativity and innovation/innovative thinking) and(iii) to give a sense of place/understanding of thelocal/national culture and heritage to the younggeneration.

The successful meeting will now be followed by theestablishment of arts in education observatories inthe region as well as a high-level meeting ofministries of culture and ministries of education, toagree on an Asian framework of action which willalso serve as input into the 2005 World Summit onArts Education and Creativity.

Through these actions, as outlined above: broad-based mobilization, empowerment of the profession,affecting policy change and transmission to the younggeneration, the UNESCO regional programme forthe safeguarding of intangible cultural heritage – inits widest sense - aims to make the safeguarding anddevelopment of intangible cultural heritage anintegral part of preservation policies since itconstitutes a key component of cultural diversity andhuman creativity.

In conclusion let me quote from the UNESCOUniversal Declaration on Cultural Diversity:Intangible heritage is best defined as a map, or acompass, through which human beings interpret,select, reproduce and disseminate their culturalheritage as a whole. So, just as tangible heritage isnot the sum total of all the physical possessions of asociety, intangible heritage is not merely anencyclopedia of its values and intangible treasures.Intangible heritage is a tool through which tangibleheritage is defined and expressed, and through whichthe inert landscape of objects and monuments isturned into a living archive of cultural values. Withouttangible heritage, intangible heritage becomes tooabstract. Without intangible heritage, tangiblebecomes an illegible series of objects or sites.

Thus intangible heritage must be seen as a largerframework within which tangible heritage takes onits shape and significance. It is the critical toolthrough which communities and societies define theirarchive of relationships between cultural values andcultural valuables. If cultural heritage can be seenas a major vehicle of human aspirations, tangibleheritage is its physical shape but intangible heritageis its motor and steering mechanism. Seen this way,intangible and tangible heritage take on a dynamicand creative relationship, where each shapes the otherover time in defining the common cultural wealth ofhumankind.

[Cultural Diversity A Conceptual Platform, by ArjunAppaduarai, Yale University]


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6. ACCU Strategies for Safeguarding of Intangible CulturalHeritage in Asia and the Pacific

Ms. OHNUKI MisakoDirector, Culture Division, ACCU

Introduction

One of the goals of this Meeting is to grasp the needsof the participants and thereby draw up concreteproject proposals to be implemented as ACCU mid-term (fiscal period 2004-2007) strategies involvingyour priorities. ACCU hopes to organize such kindof Meeting regularly every three years to review andevaluate what we have done, and to draw up newprogramme strategies for the next term, hopefullyattended by the same members providing we canmaintain good collaboration with them in the nextthree years. ACCU’s main concern is notphilosophical, but practical engagement in preparingand implementing programmes and projects for thesafeguarding of our cultural heritage in the region.Based on the several programmes on intangiblecultural heritage and network which ACCU hasdeveloped so far, in this meeting we would like toplan, together with you here, our mid-term strategyprogrammes so that we will be able to launch newactivities from our fiscal period 2004 to 2007 byundertaking necessary fund raising as well as seekingfor the new fund.

PART I:

Review of ACCU activities in the field ofsafeguarding and promotion of Intangible CulturalHeritage and Data Bank on Traditional/ FolkPerforming Arts in Asia and the Pacific

ACCU has been implementing programmes on thesafeguarding of tangible and intangible culturalheritage, book development and literacy education,jointly with Asian/Pacific UNESCO Member Statessince its inception in 1971. Culture programmes aimat promoting activities for mutual understanding andsafeguarding of cultural heritage in Asia and thePacific, through various means, such as training forthose who work in the field of culture and bookdevelopment, concours for artists, and, productionand promotion of publications in indigenouslanguages. Now the programmes on tangible culturalheritage are being covered by Cultural Heritage

Protection Cooperation Office launched in 1999 inthe world heritage city of Nara, and those onintangible heritage by our Tokyo office.

I Training Personnel

1. Sending a Mobile Team of Experts to a NationalWorkshop on the Documentation and Promotionof Intangible Cultural Heritage

Due to social changes, the rich and varied intangiblecultural heritage in Asia and the Pacific region is indanger of disappearing. One of the ways to preservethe heritage is to keep accurate records of it. In 1993ACCU launched a new programme for sending amobile team of experts to national workshops on thedocumentation and promotion of intangible culturalheritage coorganizing with a cultural institute in thehost country. Since the beginning of this programme,ACCU has so far organized workshops in Pakistan,Thailand, Viet Nam, Laos, and India.

The objectives of the series of Workshops are: (a)toprovide knowledge and experience to personnelinvolved in documentation work on intangiblecultural heritage, (b)to instruct the participants of theworkshop how to record the intangible culturalheritage, (c)to promote awareness of the significanceof preserving of the intangible cultural heritage.

ACCU sends internationally recruited experts suchas a cameraman, an audio specialist, a technicalspecialist, and a scholar, who are specializing in thisfield, to the workshops as lecturers in order to respondto the local needs. Basically, a selection of expertsmeets the requests and needs according to thesituation in the host country as submitted by thecoorganiser.

The following is brief information, titles of lecturesand outputs of the workshops so far held:

(1) PakistanPlace and date: Islamabad, 6-14 February 1994Joint organiser: Lok Virsa (National Institute of Folk

and Traditional Heritage)


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Participants: 30 participants from culturalorganisations, TV station, local authorities andschools

Contents: lectures and video shooting of traditional /folk dance, music and drama (puppet theatre) ina studio, etc.

Lectures:“Video and TV as Media for Documentation of

Non-physical Heritage”“Classical Dance in Pakistan”“Recording and Dissemination of Music”“Culture and Identity in Modern Times”“Documentation of Dance”“Dance and Documents – Their Mutual Influence

on Preservation”“Cultural Documentation through Photography”“Recording Traditional Dramatic Performance”

(2)ThailandPlace and date: Bangkok, 12-23 December 1994Joint organiser: Fine Arts Department, Ministry of

EducationParticipants: 45 participants from cultural/educational

organisations, colleges of dramatic art, librariesand universities

Contents: Lectures and video shooting of dance,music in a studio, outdoor shooting with onecamera, collecting data on background of theperformance by way of photographs and literarydocuments, video interview with an elderlyperformer, etc.

Lectures:“Video Documentation of Traditional Performing

Arts”“Video Documentation of Non-physical Cultural

Heritage”“A World of Future Rooted in Tradition”“Documentation of Visual Information Materials”“The Essence of Art Direction for Documentary

Film /Video Production”

(3)Viet NamPlace and date: Hanoi, 10-19 January 1996Joint organiser: Vietnam Institute of Culture and Arts

Studios, Ministry of Culture and InformationParticipants: 22 participants from cultural

organisations, research institutes and localauthorities

Contents: Lectures, and video shooting and audiorecording of traditional songs and performing artsin meeting hall. Field work was carried out in HoaVinh

Province for recording of traditional/folk songs anddance of the Red Thai, etc.

Lectures:“Recent Situation regarding Intangible Cultural

Heritage”“Recording Intangible Cultural Heritage on Film”“Audio Documentation of Intangible Cultural

Heritage”“Preservation and Promotion of Intangible Cultural

Heritage”

(4)Lao PDRPlace and date: Vientiane, 6-16 January 1997Joint organiser: Institute for Cultural Research,

Ministry of Information and CultureParticipants: 30 participants from cultural

organisations, TV stations, schools of music anddance, and local authorities

Contents: “Culture and Laotian Culture”“The Situation of documentation and the Use of

Equipment for the Preservation and Promotionof Intangible Cultural Heritage in Laos Today”

“Needs for Documenting Body Movements andSounds in Expressive Performance ofTraditional Asian Cultures”

“Collecting Data through Human Relations: DIPA(Documentation Items of Performing Arts) andits Applications in Broad Perspectives”

“Video Documentation of Intangible CulturalHeritage”

“The Management of Intangible Cultural HeritageVideo Documents”

(5)IndiaPlace and date: New Delhi, 4-13 January 2001Joint organizer: Centre for Cultural Resources and

Training (CCRT)Participants:26 participants from cultural

organizations, media experts, local authorities,and schools

Contents: Lectures and video shooting of traditional/folk dance and music

Lectures:”The basics of Documentation for Items of

Performing Arts”“Documentation versus documentary in video

programming”“Practical approaches to video documentation”“The management of intangible cultural heritage –

video documents”


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II Production/Recording/Dissemination

1. Asian/Pacific Music Materials Co-productionProgramme (MCP)

(1) Co-production of Music Materials

ACCU launched in 1974 the Asian/Pacific MusicMaterials Co-production Programme (MCP). Underthis programme the materials listed in the table belowhave been produced.

(2) Dissemination Programme of National Versionsof Asia/Pacific Music Materials Co-productionProgramme (MCP) materials.

In 1993 ACCU star ted a programme fordisseminating national versions of MCP materials.Under this programme, ACCU assists two or threecountries per year in producing national versions ofMCP materials by providing financial assistance. Sofar, ACCU has assisted the following countries:

MCP Materials Number of materials No.of Music

Pieces

Participating

Countries

Year

Recorded Material Guidebook

Series One

"Folk and Tradit ional Music for

Children

Vol.1

Vol.2

Vol.3

3 LP Records

3 LP Records

3 LP Records

1

1

1

62

69

75

1975

1976

1977

Series Two

"Instrumental Music of Asia and

the Pacific"

Vol.1

Vol.2

Vol.3

3 Cassette tapes

3 Cassette tapes

3 Cassette tapes

1

1

1

74

70

64

21

1979

1983

1985

Series Three

"Songs o f Asia

and the Pacific"

Vol.1

Vol.2

Vol.3

3 Cassette tapes

3 Cassette tapes

3 Cassette tapes

1

1

1

54

63

59

17

1980

1981

1982

Series Four

"Folk Songs of Asia and the

Pacific"

Vol.1

Vol.2

3 Cassette tapes

3 Cassette tapes

1

1

83

95

16

16

1989

1991

Series Five

"Musical Instruments of Asia

and the Pacific"

Vol.1

Vol. 2

Vol. 3

1 Video tape

1 Video tape

1 Video tape

1

1

1

18

16

17

(musical

Instruments)

18

16

17

1994

1997*

1999

TOTAL 36 14 819

Special Selection

"Favourite Melodies of Asia and the

Pacific" - for School Use

1 Cassette tape

2 Open reel tapes 1 39 18 1987

"Favourite Melodies of Asia and the

Pacific" - for General Use

1 Cassette tape

2 Open reel tapes 1 31 18 1987


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1993Laos “Instrumental Music of Asia and the

Pacific” Series 2Pakistan “Favourite Melodies of Asia and the

Pacific” Special selectionViet Nam “Folk and Traditional Music of Asia and

the Pacific” Series 4“Songs of Asia and the Pacific” Series 3

1994Malaysia “Folk songs of Asia and the Pacific” Series

4Sri Lanka “Favourite Melodies of Asia and the

Pacific” Special Selection1995

Philippines “Favourite Melodies of Asia and thePacific” Special Selection

2. Co-production of audio-visual materials(Cultural Kit)

ACCU organised an Asian/Pacific Co-productionProgramme of Cultural and Educational Audio-Visual Kits, comprising a set of colour slides andcassette-tape of narration and music or a video-tape,designed to introduce visually rich and varied culturesof Asia and the Pacific. This Cultural Kit series wasone of the materials produced through thecollaboration of participating countries, and was well-received in the region.

The following seven volumes were compiled;(1)Music of Asia (187 slides), (2)Our WonderfulCultural Heritage (273 slides and 1 video-tape),(3)Traditional Handicrafts (278 slides, video-tape inEnglish and ten Asia/Pacific languages), (4)LookingAround Museums in Asia and the Pacific: fromArchaeology to Telecommunications (240 slides), (5)Festivals of Asia and the Pacific (1 video-tape, 60minutes), (6)Folk Dances of Asia and the Pacific (1video-tape, 60 minutes), (7)Folk Dances of Asia andthe Pacific 2 (1 video-tape, 46 minutes).

III. Networking1. Regional Seminar for Cultural Personnel in Asia

and the Pacific

ACCU has been organizing regional seminars fortraining cultural personnel in the region, in closecooperation with countries in Asia and the Pacific.Since 1998, the focus has shifted from training tomutual cooperation and information exchange amongexperts. In response to the call to safeguard intangiblearts which are on the verge of disappearing, the themeof recent years has been the preservation andpromotion of intangible and oral heritage.

Cultural Kits (AVCP Materials) Formats Guidebook No. of

countries

Year

No. 1 Music of Asia slides 1 18 1978-9

No.2 Our Wonderful Cultural Heritage slides

video

1 1981-2

1987

No.3 Traditional Handicrafts of Asia and the Pacific slides

video

1 1983

1988

No.4 Looking around Museums of Asia and the Pacific slides

video

1 1985

1991

No.5 Festivals in Asia and the Pacific video 1 20 1988

No.6 Folk Dances of Asia and the Pacific I video 1 14 1990

No.7 Folk Dances of Asia and the Pacific II video 1 8 1992


72

ACCU coorganized with UNESCO in March 2002 aworkshop for cultural personnel to promote“Proclamation of Masterpieces of the Oral andIntangible Heritage of Humanity."

The workshop provided participants with the latestinformation and the results of the first selection, so

they could learn about the selection procedure, anddiscuss ways to utilize this system to raise the overallawareness of the general public about the importanceof intangible and oral heritage in the respectivecountries.

Theme Venue No. of participants

Feb. 1998 Preservation and Promotion of Intangible Cultural

Heritage

Tokyo, Japan 20 participants from

19 countries

Feb. 1999 Preservation and Promotion of Traditional/Folk

Performing Arts

Bangkok,

Thailand

7 participants from 7

countries

Feb. 2000 Building a Network for the Preservation and

Promotion of Traditional Performing Arts


19 countries

Mar. 2002 Promotion of “Proclamation of Masterpieces of the

Oral and Intangible Heritage of Humanity"


28 countries

2. Joint Development Programme of the Data Bankon Traditional /Folk Performing Arts in Asia andthe Pacific (http://www.accu.or.jp/paap/)

This databank comes in the form of a website as wellas a 400-page printed directory. The print versionwas published in September 2000, as a fruit of the1998-2000 Regional Seminars, followed by thedigital version in March 2002. The reason it is named“A Basic Model” is that it is intended to demonstratea possible methodology for archiving information onsuch arts, for future production of this kind in theregion.

Contents:- 153 traditional/folk performing arts from 18

countries- 62 organizations/institutions engaged in

preservation and /or promotion of such arts, from19 countries

- National backgrounds of 17 countries

The objectives of the Data Bank are:(a)to collect, share and mobilize information on

traditional /folk performing arts in Asia and thePacific for policy making, practical developmentof projects, research and education on traditional/folk performing arts.

(b)to enhance mutual understanding throughtraditional/folk performing arts.

(c)to foster the network of organizations andindividuals in the field.

(d)to lay the foundation for a scheme for the futuredevelopment of an Asia-Pacific archive of audio-visual documentation, in moving pictures anddigital visual data, of traditional/folk performingarts.

(e)to encourage mutual contribution, to thepreservation and promotion of the traditional / folkperforming arts in the region by raisinginternational awareness of its importance.

This databank needs to be revised or have informationadded, especially, regarding legislation and /orpolicies for Intangible Cultural Heritage, as follows:

(a) revise the country information for Chapter 3

(b) provide information on countries whose data are

not listed (Australia, Cambodia, Fiji, Kiribati,Kyrgyzstan, Malaysia, Maldives, New Zealand,Palau, Tonga, Uzbekistan, Vanuatu, Tajikistan)

IV Others

1. Education(1) Publishing books for children on IntangibleCultural Heritage in indigenous languages

As oral traditions in particular are often limited to aspecific locality or group of people, these should bepreserved through the written language and madeavailable to a wider audience through publication.Also, materials relating to the traditional and


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contemporary intangible culture of the Asia-Pacificregion are essential, with the particular emphasis onintroducing these materials into school curriculumand general public print and broadcast media. ACCUhas produced numerous books, including “Folk Talesfrom Asia”, “Festivals in Asia” and “More Festivalsin Asia” under the programme of ACP (Asian/PacificCopublication Programme).

ACP is a programme jointly organized by ACCU andUNESCO Member States in Asia and the Pacific,starting to co-plan, co-edit and co-produce books andmaterials for children that would nurture mutualunderstanding and build pathways to promote culturaldiversity in the region, while providing them withlow-priced attractive books. Under this programme29 titles have so far been produced.

ACP first produces a master version in English, basedon which each Member State produces its ownlanguage version for distribution within the country.The total number of copies of the translated versionin the respective countries amounts to more than4,200,000 (4.2 million). This programme is supported

by ‘national agencies’, consisting of private orgovernmental publishing houses, National Libraries,or other book-concerned organisations in eachMember State, which work closely with ACCU, frommonitoring needs, submitting ideas, and sendingmanuscripts prepared by local artists and writers, todisseminating the book in vernacular languages.

In fiscal year 2005, ACCU intends to publish bookson “Intangible Cultural Heritage Around Us”(tentative) for school children. ACCU is going toorganize an editorial meeting this June or July to drawup concrete guidelines for collecting materials to beprepared by artist and writers and to decide itsdistribution strategies. ACCU hopes that this ideawill also lead to encouraging the participation oftraditional artists and local creators in identifying andrevitalizing intangible heritage.

2. Animation Co-production Programme in Asia andthe Pacific

Contained in the oral traditions and folktales, we can

find abundant wisdom and knowledge that are

extremely helpful to understand how to live

harmoniously with nature and to consider directions

for the future. Animation is one of the most populartechniques and it is also effective when importantbut rather technical or serious messages are beingconveyed. This programme aims to share andpromote oral tradition in Asia and the Pacific withpeople around the world, and to provide them withgood quality material in an enjoyable modern way.Selected tales from the six-volume series “Folk Talesof Asia” in the Asian/Pacific Co-publicationProgramme (ACP) were developed into animatedcartoon videos. In this respect, it could alsosupplement the promotion of literacy and reading.The programme started in 1992 with the introductoryvideo, “Once Upon a Time…” followed by three titlesbased on stories of three Asian countries which hadbeen produced by studios in the respective countriesby 1997.Volume 1 “The Princess of Lotus Flowers” (China,

Shanghai Animation Film Studio) 1993Volume 2 “The White Elephant” (India, Ram

Mohan Biographics) 1994Volume 3 “The Dog Who Wanted to Be the Sun”

(Thailand, Kantana Animation Co. Ltd.)1996

ACCU, together with the studios in the respectivecountries produced the original English Versionmaster tapes in three video systems (PAL, NTSC,SECAM) and encourages production of locallanguage versions.

3. Others

(1) Planning of Implementing Regional Programmesfor the Safeguarding of Endangered Languages inAsia and the Pacific

Asia and the Pacific is undeniably one of the world’smost linguistically diverse regions. But at the sametime, there are over 597 million people who cannotread and write in this region. This number makes upabout three-fourths of the world’s illiteratepopulation. The illiteracy rate is generally higher inrural areas. Women comprise two-thirds of theregion’s illiterate population. How will programmeson endangered languages be creatively promotedwithin the framework of safeguarding culturalheritages? Initiating projects in this region, ACCU


74

thinks that it is essential to have an overview of thetarget people not only from the linguistic viewpointbut also from historical, political and religiousperspectives. ACCU also thinks that involvement oflocal experts, experts on literacy education, or editors/producers who are well versed in arrangements oforal traditions or material development is also veryeffective for reinforcement of the programme.

ACCU, taking maximum advantage of theiraccumulated experience so far, intends to seek to findout needs and identify programmes for safeguardingendangered languages, such as training of locallinguists and educators, for their documentation,preservation, and revitalization.

With regard to the issue of ‘language’, ACCUpublishes ABD (Asian/Pacific Book Development),a quarterly periodical in English, to provide and sharenews and information on publishing, bookdevelopment and reading promotion in Asia and thePacific, so that readers can again access to the latestinformation and know-how on material developmentand its successful model cases in different regionsand countries. Some issues have featured articles onlanguages in Asia and the Pacific in the past such as,“English in Asia”(Vol.33 No.2, 2002), “LanguageIssues in Digital Publishing” (Vol.31, No.3, 2001),“Cultural Diversity and The Internet (Vol.32, No.2,2001), Indigenous Languages, Creators of Culture”(Vol.23, No.2, 1992), “Pacific Culture and PublishingToday” (Vol.24, No.2, 1993), “Multi-lingualSituations in Asia and the Pacific” (Vol.27,No.3,1997), “Oral Traditions Live Today” (Vol.XIX, No.1,1988), and the latest one featured “EndangeredLanguages: How Can They Be Revitalized?”

(2)Programme on Copyright Promotion within theframework of International Property Rights

It is an important issue to protect the rights of thosewho express their own cultures, to encourage culturaland artistic activities from the judicial angle and makethese rights a priority within the cultural policies ofAsian countries, which are now being involved inrapid globalization. Intellectual properties, includingcopyrights, must be shared as cultural products byall mankind and are, as a source of intellectualactivity, essential for the cultural development of eachcountry.

Under these circumstances, Asia / Pacific CulturalCentre for UNESCO (ACCU) has decided on mid-term strategies, that is, to produce handbooks oncopyrights in Asia for people engaged in culturalactivities at grass-roots level, to spread basicknowledge about copyrights in June 2004, and to holdnational workshops on adopting the system in twoor three countries per year. We aim to contribute tothe maintenance of cultural diversity and thedevelopment of cultures, which UNESCO intendsto promote, and also to the enforcement of intellectualproperty rights, which WIPO has been undertaking,by producing master versions (English) and holdingpractical workshops intensively for producingvernacular language versions to be fully utilized inindividual countries.

PART II:

A Draft Plan of ACCU strategy to safeguardIntangible Cultural Heritage (2004-2006)

1. Inventory-making as a part of heritagemanagement.

It is one of the objectives of the Proclamation toencourage countries to establish national inventoriesof their intangible heritage and provide legal andadministrative measures for its protection. SinceJapan is a country with wide experience in this field,ACCU is planning to convene workshops or seminarsinviting cultural authorities from other countries inthe region, so that they can tackle the issue as soonas they go back to their countries.

2. Training Seminars for Government experts

The next priority comes on training personnel. Weare to convene seminars of the cultural authorities ofthe region, in which they would tackle the issue ofhow to make traditional cultures and folklore apriority within their cultural policies.

3. Programme Management of Sharing Know-howand Strategies for Video Documentation ofIntangible Cultural Heritage

The next objective is sharing know-how of videodocumentation of intangible cultural heritage underdifferent conditions in the respective countries. Howare we going to disseminate the knowledge that we


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document? ACCU intends to produce a draft manualor simple guidelines for video documentation, underthe initiatives of lecturers who have attended ACCUdocumentation workshops so far in 5 countries.Contents of the draft manual are planned to bedeveloped by perpetual testing in the technical andtheoretical workshops, thereby finalizing as acomplete version of video documentation fordissemination. We hope to provide learners with theessence of documentation know-how which istechnically applicable for both digital and analoguerecording.

4. Handbook “What is intangible cultural heritage?”

Targets of this programme are ordinary people,children to adults, including government people whoare in charge of management of intangible culturalheritage in the country. It is intended to publish thishandbook for easy understanding and identificationof the definition of intangible cultural heritage.Although the Convention provides the definition inits Article 2 in rather general terms, the Oral andIntangible Heritage is not yet widely recognized inthe region, and therefore still accepted as a rathervague concept. Also since the convention is still verynew, it is not very widely known. Many peoplewonder what “oral and intangible heritage” exactlymeans, and what this programme is all about. So wethink it best to provide a very simple but easy-to-understand guide as soon as possible.

5. Data Bank

This databank comes in the form of website as wellas a 400-page print directory. The print version waspublished in September 2000, as a fruit of the 1998to 2000 Regional Seminars, followed by the digitalversion in March 2002.

Unfortunately, as you see, it does not include manyvisual images: only one or a few pictures for most ofthe performing arts, so we are planning to includesound and moving pictures in this databank in thevery near future, as one of the mid-term plans. SoACCU is planning to further develop the databankgradually and update it in the next three years. Weare planning to conduct a survey by asking expertsto do detailed research on several subjects to includein the databank, thereby providing experts,researchers, press people in the region with latest

information on intangible cultural heritage in Asiaand the Pacific.

6. Others

(1) Educational Material for children entitled“Intangible Cultural Heritage around Us”

In order to act as vehicle for the exchange anddevelopment of education materials relating to thetraditional and contemporary performing arts of theAsia-Pacific region with the particular emphasis onintroducing these materials into secondary schoolcurriculum and general public print and broadcastmedia, ACCU is planning to produce a kind ofhandbook for children entitled intangible culturalheritage around us in 2005. As you might know,ACCU has been implementing programme entitled“Asian/Pacific Copublication Programme (ACP)”since 1972. Under this programme we havedeveloped 29 titles and the next theme was decidedto be this title. ACCU is going to organize its editorialmeeting this June or July to draw up concreteguidelines to collect materials to be prepared by artistand writers and to decide its distribution strategies.I think this idea also will lead to encourage theparticipation of traditional artists and local creatorsin identifying and revitalizing the intangible heritage.

(2) Project of production and distribution ofeducational materials on copyrights forsafeguarding and developing cultural diversity

Intellectual Property Rights are one of the hot issuesin Asia and the Pacific. Ms. Noriko Aikawa, whorepresented UNESCO in 2002 ACCU RegionalWorkshop for Cultural Personnel in Asia and thePacific, described in her presentation that just afterthe adoption of 1972 Convention, at the idea that “Thecultural heritage is a resource belonging to a groupand should be used for its benefit” – requestedUNESCO to study the protection of traditional andpopular cultures from the judicial angle. Copyrightand its related rights, as a part of Intellectual PropertyRights, to raise awareness among the publicespecially those who intends to invite WIPO andUNESCO to reinforce this programme by taking updrastic measures for the region.



Chapter 3

Country Reports



79

CHAPTER 3

2004 ACCU Regional Meeting in Asia and the Pacificon Promotion of Safeguarding Intangible Cultural Heritage

Guide for Country Report Preparation

1. For the participants from Cambodia, China, India, Indonesia, Japan, Kyrgyzstan, Mongolia, Rep. of Korea,Tonga, Uzbekistan, Viet Nam, Vanuatu, Tajikistan:

Participants from those above-mentioned countries whose Oral and Intangible Heritage was proclaimedas Masterpieces in November 2003 are requested to prepare a report discussing the following items.

(1) Why and how the particular cultural expression/space was selected for candidature(2) Difficulties faced during the selection of the candidate(3) Current situation regarding the implementation of the Action Plan(4) Other heritage that was considered for candidature

2. For the participants from China, India, Japan, Philippines, Rep. of Korea and Uzbekistan:

Participants from countries whose Oral and Intangible Heritage was proclaimed as Masterpieces in theFirst Proclamation (May 2001) are requested to discuss briefly any impact or effect of the Proclamationon preservation efforts, national policy, or other dimensions.

3. For all participants:

All participants are requested to discuss the following items.(1)Case studies of successful/on-going Intangible Heritage promotion/preservation activities, if any, on

the following topics.(a) Public awareness raising (advocacy, publicity)(b) Drafting national legal instruments for ratification of the Convention for the Safeguarding of the

Intangible Cultural Heritage (arguments/justifications)(c) Heritage management, including inventory making(d) Reviving once-endangered heritage (training young performers/ tradition bearers)(e) Intangible heritage in education (formal, non-formal)(f) Other examples related to safeguarding of intangible heritage

(2) Follow-up activities of the 2002 Regional Workshop for Cultural Personnel in Asia and the Pacific onPromotion of the “Proclamation of Masterpieces of the Oral and Intangible Heritage of Humanity”(Tokyo, Japan, March 2002)

(3) Please discuss briefly (1 paragraph) what your expectations for this Meeting are.


80

AUSTRALIA

Australia recognises that UNESCO has played a keyrole in safeguarding and promoting the importanceof ICH, and Australia supports UNESCO initiativessuch as the Living Human Treasures Program andthe Proclamation of the Masterpieces of the Oral andIntangible Heritage of Humanity.

Australia has experience to share in the debate onICH – at both a regional and national level. We alsohope to learn from other States on how they mightimplement UNESCO’s Convention for theSafeguarding of Intangible Cultural Heritage.

Summary of Recent Initiatives

• Australia currently has as part of its Copyrightlegislation a detailed scheme providing forcreators’ moral rights. These rights provide amechanism for art ists from all culturalbackgrounds to ensure appropriate use of theirwork and protect its integrity. The Government isalso anticipating introduction of legislation thisyear that would give Indigenous communities ameans to prevent unauthorised and derogatorytreatment of works that embody communal imagesor knowledge.

• Recently, a methodology for identifying the sig-nificance of objects has been developed in Aus-tralia by the Cultural Ministers Council. The sig-nificance criteria recognise that all the inter-wo-ven elements of museum collections, places, build-ings and archaeological material and their intan-gible values – that together document and inter-pret Australia’s history and culture – will be bet-ter managed if the museum community adopts abroadly consistent terminology, assessment crite-ria, and methods of practice. A copy of “Signifi-cance: a Guide to Assessing the Significance ofCultural Heritage Objects and Collections” can befound at: http://www.amol.org.au/craft/publica-tions/hcc/significance/sign_cultural_obj.asp

• Through the Return of Indigenous CulturalProperty Program, we are working to returnsignificant cultural property held in AustralianMuseums including secret sacred objects, toAustralian indigenous communities.

Significance Assessment and Intangible CulturalHeritage

Significance assessment has a long history of use interms of built and natural heritage and has developedas the primary tool in establishing heritage values inAustralia. It provides a broadly consistentterminology, assessment criteria, and methods ofpractice and ensures that scarce resources are directedonly at the preservation of heritage of outstandinglocal, national or international value. It is also anobvious tool in assisting communities and collectinginstitutions address their key needs in relation to ICH.

In 2003, the Department of Communications, Infor-mation technology and the Arts commissioned DrAnita Smith of Deakin University to conduct a fea-sibility study into the development of national crite-ria and guidelines for assessing the significance ofexamples of ICH. The feasibility study included:

• Research and documentation of existing criteriafor assessing the significance of tangible culturalheritage objects and collections and a consider-ation of their possible application to ICH. Exist-ing criteria included those used by local, State andFederal Government agencies and non-govern-ment organisations both in Australia and overseas.The consultant also considered criteria for heri-tage places and include these where appropriate;

• Research and documentation of existing criteriafor assessing the significance of ICH, includingthose used by local, State and Federal Governmentagencies and non-government organisations bothin Australia and overseas. In particular, the con-sultant considered relevant legislation andUNESCO’s Living Human Treasures and Procla-mation of the Masterpieces of the Oral and Intan-gible Cultural Heritage of Humanities Programs;

• Assessing the feasiblility of developing a draft setof criteria and guidelines to assess the significanceof ICH; and

Ms. Karen GoslingSpecial Adviser, Collections and Gover-nance, Department of Communications, In-formation Technology and The Arts


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CHAPTER 3

• Recommending a possible set of criteria and guide-lines for assessing the significance of intangiblecultural heritage (where considered feasible).

Key Findings

The Study highlighted a number of key issues thatsignificance assessment criteria for intangiblecultural heritage would need to be address. Theseare:

1. The role of tangible expressions of intangibleheritage – places and objects – in the significanceof intangible heritage.

2. There is a need to clearly define what constitutesa cultural community when establishing thecultural association or traditional ownership ofintangible cultural heritage.

3. The significance of intangible heritage is directlyrelated to the role that heritage plays in creatingand maintaining the identity of a culturalcommunity.

4. The significance of intangible cultural heritage tothe cultural community with which it is associatedand can only be established by that community.

5. Intangible cultural heritage are living traditions,a measure of which is its active transmission byknowledge holders through performance andpractice within the cultural community with whichthe heritage is associated.

6. Intangible cultural heritage is constantly evolvingthrough performance and transmission.Documenting/recording intangible culturalheritage is not documenting the heritage but onlya version of that heritage at a particular placeand time.

7.Given the relationship between cultural identity andintangible cultural heritage, expressions ofintangible cultural heritage performed orconserved in isolation from their traditionalcultural context will have diminished, or alteredsignificance.

8. Establishing the authenticity of intangible heritageis dependent on demonstrating the role of theheritage in contributing to the identity of thecultural community with which it is associated.

9. Intangible heritage includes contemporary, hybridand traditional forms. The significance ofintangible cultural heritage is not dependent on ameasure of the antiquity of a practice or itsassociation with traditional societies.

Draft criteria for Assessing the Significance ofIntangible Cultural Heritage

(a) Primary Significance

[establishes that the heritage is associated with aparticular community or communities and that itcontinues to be transmitted through cultural practiceswithin that community]

• What cultural community or communities is theheritage associated with?

• Who (in the cultural community) has the authorityto speak of the role the heritage plays in thecommunity?

• Is the practice/knowledge/performancetransmitted orally or in any other way accordingto the community’s cultural practices?

• What other cultural associations does it have? [forexample other cultural practices, places andobjects]

• In what terms does the community identify itssignificance? [this may include its historic,aesthetic or other significance within thecommunity]

(b) Secondary SignificanceDoes the heritage have significance outside thecommunity with which it is associated?[category-based criteria]

•Historic: For example, is it associated with aparticular person, event or time? Does the formor content have historical significance?

•Scientific: For example, can it provide informationabout a knowledge system, technology or craft?

•Aesthetic.

[Inclusion of qualitative and comparative criteriaincluding degree of endangerment would bedependent on the context in which the assessment isbeing carried out. The accompanying guidelinesshould gives examples in which their use may bewarranted.]

[Authenticity – determined by the community in theassessment of primary significance]


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Draft Criteria for Assessing the Cultural Signifi-cance of Documentary records of IntangibleCultural Heritage

[individual items and collections including visualrecords, audio and text]

There are two aspects to the assessment:

a)Assessment of the pract ice/knowledge/performance itself through establishing whetheran association exists between the recordedintangible cultural heritage and a living culturalcommunity, following the processes forestablishing Primary Significance outlined above.

b)Assessment of the significance of the recordedversion. This process would mirror that ofestablishing Secondary Significance.

[Comparative criteria including representativenessand rarity may be used to identify the significance ofa particular version of the cultural practice. Ameasure of the integrity or condition of the documentitself may also be appropriate. ]

Next Steps

We are currently considering how we might furthertest these criteria with communities. We are happyto make copies of the full feasibility study availableto workshop participants.

Ms. Shaheen AkhtarSenior Assistant Secretary , Assistant Pri-vate Secretary to the State Minister for Cul-tural Affairs, Ministry of Cultural Affairs

BANGLADESH

1. IntroductionBangladesh is a deltaic country, grown out of alluvialsilts carried over by its mighty rivers since pre-historic antiquity. Because of its unique locationbordering the bay of Bengal, people from all overthe world have visited its fertile land by sea way andcontinental high ways. People living here basicallybelong to non-Aryan origin, and the language theyspeak is called Bengali or Bangla, which is derivedfrom globe–totters linguistic group. However itsseaways and highways have provided ampleopportunities for globe-totters, from Europe, MiddleEast and Far East (by sea) as well as neighboringSouth Asian countries (by high ways) and adjacentcountries like Iran, Afghanistan, Burma, China,Thailand, Indonesia, etc. This is how a hybrid nationalidentify with a composite linguistic and traditionaldiversity has been shaped within its people belongingto various religions, caste, creed and colour. This isindeed a unique international tendency in-built in ournational identity. Similarly, unity in diversity hasbecome almost a proverbial epithet of our culturalheritage.

2. Cultural Heritage of BangladeshCultural heritage of Bangladesh is indissolubly linkedup with the growth and evolution of its people andlandmass in shaping that shapes the destiny of thisnewly independent nation-state. Bangladesh won herindependence in 1971 after a nine-month longsanguinary war of liberation, but the logic for its state-nationalism was articulated much earlier. And it isthe unity in cultural diversity of Bangladeshi peoplethat gave the essential components for its sovereignnational entity. In fact, the nationalism in Bangladeshis based on cultural nationalism, triggered off by theunabated love for mother language of its people.Land, language and liberty are interwoven as acontinuous paradigm in its historic emergence as asovereign state.

However, like elsewhere in the world, our culture isalso divided into two major areas: tangible andintangible. We would dwell here particularly on


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Intangible Cultural Heritage that has i tsmanifestation in the creative pursuits of our folkpoets, singers and philosophers in the main.

3. Intangible Cultural Heritage in BangladeshPeople in Bangladesh are basically peace-lovinggifted with lyrical talent in expressing their emotionand wisdom. This is why most of our ancient creativepeople are either poets or singers. In most cases theyare either poet-singers or singer-poets. They not onlyimprovise rhymed narratives, but also devise theirfavorite tone with the help of traditional musicalinstruments such as dhol, karatal, flute, fiddle,ektara, and the like. This is how intangible culturalheritage in Bangladesh is largely based on the poeticand lyrical genius of its folk people. They sing loudlywhen they work, they murmur a tune when they takerest under a country-made embroidered quilt in awintry night and they play a beautiful tune on theirflute as they sit down under the shadow of big banyantree in a wide field, or by the side of a river. However,some of the major categories of our intangible culturalheritages are as follows:(a) Work songs : These songs are also known as

cultivation songs. The local name is ‘Sari’, thatconnotes a ‘row’. Farmers plant crops standingin a row after ploughing their land and whileplanting their saplings from dawn to dusk theysing out sari songs to drive out their boredom.A leading singer utters a line and others repeatthe same as a chorus. Sari songs are also sung invarious festivals at the end of planting seasonsand at that time neighboring villages are oftenfound in healthy competition with their majorsingers. This is a unique interaction of localbearers of intangible cultural heritage.Subsequently this competition is usuallyreshaped into a fair with increasing participantsfrom a wider variety of areas from different partsof the country.

(b) Devotional songs: As a most known genre is‘Jari’, is popular among pious Muslimsbelonging Shia sects. Shia muslims are followersof Hajrat Ali as their religious leader. The episodeis based on the tragic incident of the killing ofImam Hasan and Hussain, the grandsons ofProphet Mohammad (Sm.) in an unlawful battlein Kerbala near the bank Euphrates. On the tenthday of Muharram month, people of Shia sectcome out in procession in the streets of townsand villages with tears in their eyes and loud

lamentations in rhythmic repetition. This songis popular because of its story, narrative styleand historical significance. However, Jari songshave evolved into new dimensions in the recenttimes and issues of socio-political nature havealso become its theme.

(c) Other Songs: Other types of Muslim devotionalsongs include Mazar songs in the main. Theseare composed and sung in some kind ofparticular shrine, where a leading saint is placedas a central source of inspiration. This religiousleader is locally called ‘Peer’ and a memorialtower is invariably built on his grave after hisphysical disappearance from this earth. Thismemorial grave is called Mazar. The followersof the demised saint gather in the mazar everynight and they sing praising the ‘peer’ as truerepresentative of Allah and Rasul. Mazar songsare also categorized into a number of groups,based on the subject they deal with. Two popularvariants of mazar songs are ‘Murshidi’ and‘Maizbhandari’.

(d) River songs: Since Bangladesh is a reverinecountry, its communication network is built onits river ways. Hundreds of large and small rivershave encircled the whole delta. So river songsof wide varieties have emerged here over theages. The most known genre of river songs isBhatiali, or the song of rowing down-stream. Aboatman, usually rowing down a river startssinging loudly, but in a most melodious andvibrant manner, remembering either his belovedor near ones, since he may not return home fordays or months together. Bhatiali is not only ariver song, but also the boatmen engaged infishing in the deep sea in the Bay of Bengalimprovise their own genre. In fact, Bhatiali isone of the most significant aspects of ourintangible cultural heritage.

(e) Land songs: Land songs are also divided intomany groups based on the subject they dealtwith. However, Bhaiwaiya, which is a vibrantof road song on the arid areas of the northernpart of Bangladesh comprising of greaterRangpur and Dinajpur districts, is the mostdominating land songs. Usually bullock-carts arethe main vehicles for passengers as well ascarrying crops and other necessary householdcommodities from one place to another in the


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northern side of Bangladesh. The drivers of thecart sing Bhaiwaiya, which is almost a parallelwith Bhatiali in the low-lying areas ofBangladesh. Its theme also centers round thetemporary separation of the driver with hisbeloved ones. The other variant is called‘Gambhira’, which is an entertaining stageperformance with a rhymed debate between amaternal grand father and his grand sons.Another variant of land song is ‘Kavigan’ whichis much wider than ‘Gambhira’. Kavigan is anightlong poetic debate between two folk-poetswith contrasting subjects such as man-woman,Hindu-Muslim, town-village etc.

(f) Mystic Songs : These songs are usuallycomposed and sung by known folk poets ofconsiderable genius, who have earned theirpermanent place in the history of our literature.A very known variant of mystic songs is ‘Baul’song, which is widely known in internationallevel. Our major folk poets like Lalon Shah,Hason Raja, Mohin Shah and many others havedevised these songs. Baul songs are based onhomelessness in the main, but it points out a‘sain’ (precept) who is the central focus as originand end of this endless universe. Both Lalon andHason have written songs of this type with theirdistinctive tendencies.

(g) Instrumental Music: Apart from word-basedsongs, we have tunes from folk-instruments.Dhol, Khanjani, Behala (fiddle) are some of ournative instrument. But the most dominatinginstrument is ‘Banshi’ or Flute, mostly made ofbamboos, easily available in the countryside.Banshi, Dhol, etc. are tangible as material butthe tune and rhythm they produce in intangible.

4. Public Awareness RaisingVillage fairs are the age-old forms of raising publicawareness for safeguarding our intangible culturalheritage. Recently planned steps are being taken inthe form of district level competition and exhibition.The government of Bangladesh is also takingeffective steps by stressing the need to protect ourheritage through various media including paperadvertisement, audio-video and electronic channel.However, more planned steps are yet needed to raisepublic awareness.

5. Drafting National Legal InstrumentOur academicians and artists have already raisedarguments and justification for drafting national legalinstruments in general. Various bodies working underMinistry of Cultural Affairs are engaged in thesepursuits. These bodies include Bangla Academy(Folklore Department), Bangladesh NationalMuseum, Bangladesh Shilpakala Academy, NationalArchives, Archaeological Departments andSonargaon Folklore Museum in the main. Besides,there are some museums, like Barendra Museum atRajshahi, Tribal museum at Chittagong, PaharpurMuseum at Bogra, Ahsan Manzil at Dhaka, LalbaghFort Museum at Dhaka, etc., which also holds someresponsibilities to work with these topics. Thesedepartments governed by their own legal rules. Thuswe work to safeguard our intangible cultural heritage.

6. Heritage Management and InventoryWorks relate to the heritage management inBangladesh is not well recognized. As such typestructures are very few in number. However, effortsare being made to evolve an organized Heritagemanagement system. Side by side inventories of theheritage architectures are also being prepared by ourappropriate organization.

7. Reviving Once-endangered HeritageIt is a matter of great satisfaction that no genre ofintangible cultural heritage in Bangladesh isextremely endangered at this moment. However, lessknown genres such as folk dance and games are beingpracticed and developed in the relevant governmentand private organizations. A number of individualgroups and organization of poets and artists havecome out to revive our traditional culture as well asto recycle the same in order to meet the demand athome and abroad.

8. Intangible Heritage in EducationIntangible heritage in education, especially in formaland non-formal education includes localized culturalorganizations and their activities, especiallyorganizations that have been established to study thelife and works of Lalon, Hason, and other stalwartsof our folk tradition.

9. Other examples related to safeguarding ofintangible heritageIn our country, some of our cultural heritages arebased on some particular areas of the land. Besidessteps taken by the government and other


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BHUTAN

Mr. Lungten GyatsoPrincipal, Institute for Language and CultureStudies (ILCS), Ministry of Education

organizations, peoples of those areas are alsocontributing to safeguard our heritages by practicingand developing their own heritage.

10. Follow-up activitiesA project proposal for preserving Palagan in CD hasbeen sent to ACCU through Bangladesh nationalcommission for UNESCO as follow-up activities ofthe 2002 Regional workshop for Cultural Personalin Asia and the Pacific on Promotion of theProclamation of Master pieces of the oral andIntangible Heritage of Humanity (Tokyo, Japan,March 2002). As advised by the concernedauthorities, this proposal is being revised and updatednow.

11. Expectation from this meetingThis meeting of resource persons in the field ofcultural heritage, especially on intangible genre,would definitely work as a rewarding interaction forbetter understanding of its logic and reciprocity.Workshops organized here would provide us brieftraining and updated methodology. I shall bepersonally benefited and better equipped to continuemy research in this field. Back home, I shall continuewith follow-up progress to be participated byinterested researchers and artists my mind alike.Hopefully, the concept of Intangible Heritage shallrender into a tangible perception to me after thismeeting.

1. Introduction

Bhutan is the only independent country in the worldwhere Tantric form of Mahayana Buddhism is widelypracticed. Almost all forms of rituals and indigenouspractices directly or indirectly have their base inreligion. Not only the temples and monasteries butthe local communities also serve as centres for severalfestivals and celebrations where different dances andrituals are performed. Some of the rituals and danceshave formed an important aspect of both secular andreligious functions.

Bon religion, a category of Animism, was the religionprior to the advent of Buddhism. With theintroduction of Buddhism into Bhutan in the 8th

century AD, the Bon religion gradually began to loseits impact while some got transformed into MahayanaBuddhism while few survived in the far-flung remoteareas. Therefore, some of the age-old indigenousrituals though spiritual, lack to wear a pure Buddhistidentity. Howsoever, all the rituals irrespective of itsnature are performed to subjugate the evil forces andat the same time establish peace, prosperity and goodhealth through the blessing of different deities sincethey are considered very powerful.

But most of these rituals of historical and spiritualimportance, except the ones that have gained nationalpatronage, are struggling for existence as a result ofmodernization and transition into a capitalisticeconomy. The ageing of elders, the primarycustodians of intangible heritage, is another crucialfactor contributing to the need to document andconserve these intangible traditions and practiceswhich encompasses knowledge and skills. Therefore,to safeguard the cultural heritage of Bhutan throughthe provision of training in documentation andfieldwork practices, and the development of long-term strategies to ensure the ongoing transmissionof this heritage to future generation, the project“Establishment of a National Inventory of PerformingArts of Bhutan” has been designed. This projectencompasses research , preserva t ion anddissemination functions.


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2. Project summary

1)Project title: Establishment of a NationalInventory of Performing Arts of Bhutan.

2)Financial assistance: Japan Funds-in-Trust/UNESCO-Intangible Heritage Unit.

3)Host country: Bhutan4)Implementing Agency: Institute of Language and

Cultural Studies, (ILCS)5)Associated bodies: Royal Academy of

Performing Arts, (RAPA)6)Project period: 2001-20047)Project budget: US$ 139,382

3. Objectives

The following objectives have been identified:1) Provide thorough training to Bhutanese project

participants for undertaking field researchinvolving audio-visual documentation andanthropological methodology and practices, andto establish and maintain an inventory ofIntangible Heritage of Bhutan.

2) Contribute to the strengthening of Bhutaneseprofessional training and resources in the areasof safeguarding, fostering of related academicresearch and establishing regional, national andinternational networks relating to this heritage.

3) Raising of awareness within Bhutanese societyat large of the significance of conserving,maintaining and transmitting intangible culturalheritage in the forms of expressions.

4) Maintaining Database and archiving of thesepractices for future references.

4. Fieldworks

[Field trip # 1]Project: 1 Pamo

2 Gakha Dokha3 Michung Jachung

Location: Wamrong (Trashigang district)

A brief introduction to PamoThe term Pamo refers to both the ritual as well as theperformer. It is always performed by a woman andtherefore, the term Pamo has a female connotation.A similar ritual if performed by a man would beknown as Pawo.

This ritual which is directed towards good luck andhealth has no written transmission. It has been passeddown orally and the interesting thing is that this artis rather transmitted naturally. It is not necessary thatall the daughters will inherit this tradition from theirmother but the deity will instruct and decide whowill inherit and therefore, automatically passes downto one of the daughters.

The ritual is a tedious course for 6 hours of continuousdance and recitation during which the Pamo remainsspiritually occupied by the deity. She then is adifferent person altogether with a possessed charmof divinity. In the process she reads the causes of theproblems and predicts their remedies if at all curable.She sits on a carpet of covered banana leaf markedwith rice, the sign of a swastika and begins her ritual.Despite her tremendous shaking of her body on themat till the end of the first part, the swastika signremains undisturbed symbolizing the goodness of thehost.

The Pamo ritual has three different parts of whichone is Khandro Dalam. This ritual is directed towardsrestoring and revitalizing the life force threatened byevil spirits.

The second is the Chesung Tangra. It is directedtowards dispelling evil spirits and their spells, andrestoring good health and luck by appeasing the localdeities through offerings. This part of the ritualconcludes by making a thanksgiving offering to thedeity. These two rituals are performed at the specialrequest of the needy people.

The third is the Shakpa. It is basically a thanksgivingceremony to the deities to whom the Pamo resortsand takes refuge. This ritual is performed annuallyon her own as her gratitude to the deities for all thespiritual power and support during the past one yearand for future supports as well.

Whether she is possessed by the deity while sheperforms her ritual, it is interestingly surprising tosee her ever fresh and active even after those six longhours of vigorous dance and reciting which may notbe the case with many.

A brief introduction to Gakha DokhaGakha Dokha is a ritual belonging to the Boenpractice. Basically it is also directed towards freeingpeople from illness and other spiritual possessions.


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Gakha l i t e r a l l y means t he uppe r de i t yTshongtshongma (mother spirit) and Dokha meansthe lower deity Memi Pangzampa (father spirit). Thisritual is dedicated to the two main deities of theeastern region which often cause sickness to bothman and cattle if people tend to neglect them. Whenpeople suffer from severe headache, muscle pains,body aches, and if medicine does not bring effect,people resort to this ritual.

The process of the ritual begins with a vast displayof dresses and offering items. When all thepreparations are completed, the Phrami (theperformer) begins h is r i tua l by invi t ingTshongtshongma from the northern mountains. Sheis verbally guided the path along till the place wherethe ritual takes place. Once the deity reaches the spotthe Phrami makes the offerings. Then he goes on toinvite the Memi Pangzampa and does the same. Afterthe offering recitation is over he takes the deities backto their citadels along the same path they werebrought.

Like Pamo, this ritual also does not have a writtenlineage. It is therefore, differing from place to place.

A brief introduction to KharamshingKharamshing is a ritual against curse befalling. It isa Boen ritual that came along with many other Boenbeliefs and practices. This tradition is also evident inthe Buddhist ritual practices.

The kharamshing ritual requires so many householdthings (mentioned below) along with a wooden framewhich is entirely made from a particular type of treeknown as robtang shing (Lat. Rhus chiensis) thatbelongs to the Anacardiaceae family. A malepreferably born in the tiger year or if not born in thesnake year of the traditional calendar is designatedfor making the Kharamshing, comprizing of acompound of arrow and bow, a big phallus, abangchung (a small bamboo basket), wooden ladle,aluminum ladle, a small bamboo strainer along witha small piece of cloth containing nine varieties ofgrains are tied at the mouth of the phallus by ninedifferent strings. They represent the ration for thekharam (curse).

In another piece of cloth, ash which acts as a lid andan egg which acts as a heart is placed in the middleof the structure. The Kharamshing is then webbedwith nine varieties of strings. A garland of empty

eggshells is also hung on to the Phallus. It is nowready for the ritual.

The ritual performer then begins by tossing grains atthe Kharamshing with the following words:,May the family be spared of the curses from the NorthMay the family be spared of the curses from the SouthMay the family be spared of the curses from the EastMay the family be spared of the curses from the WestSpare from bad people and jealousnessSpare from bad food and waterSpare from evil cursesSpare houses from cursesSpare cattle’s from curses.”In the process the members of the family toss grains(mixture of nine different grains) as a gesture of theirparticipation in driving away the evils and ills. Soon, goes the ritual concluding with a wine feast forthe ritual performer as well as the family members.

Michung JachungJachung Michung a mask dance is almost a theaterbased on the treasure revealed by Dorje Lingpa inthe 14th century AD. It is basically to chase awayevil spirits and establish harmony and peace in thecommunity and family.

This dance is also seen as a blessing for the childlessparents. It is a very unusual mask dance which isapparently a theatre. The characters in the dance aredepicted by Michung who is considered as the sonof Jajin and Jachung (Garuda). It is based on thestory of a princess who lost her way from China toTibet. She was to marry the king of Tibet. But oneday, the king of gods, Jajin, happened to meet thewandering prince in the woods and developedintimacy over the months resulting to the birth of ason. Since the princess was to marry the king of Tibet,she did not give up the wish to get to the king ofTibet. Therefore, the princess she left the child all byhimself in the forest.

Two Garudas spotting the child poured on to thebaby. Fortunately, Jajin who was the biological fatherseeing this came to his rescue and drove away theGarudas. This dance is therefore, performed tocommemorate victory over evils once in two years.

Date: 05 July 2003 to 20 July 2003


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a)Preparatory activitiesField trip scheduleField trip activities (setting up of field trip

objectives)Task lists for every participant.Budget approvalVehicle checklistParticipant checklistEquipment checklistAuthorization letters and road permitResearch of existing documentation (if any)Resource person (if available)Creation of a guiding questionnaire for on-site

interview

b)Field workShooting of 4 rituals and interviews related to

subject in WamrongShooting of Jachung Mechung mask dance in

Bumthang

c)Post field trip activitiesViewing of the footage with the team and critical

analysisDubbing of all materials on VHS formatTranslating all interviewsLogging of all tapes

[Field trip # 2]Project: HunglaLocation: (Tokhapu, Trashiyangste district)

A brief introduction to HunglaHungla is a community based annual ceremonyperformed in Tokaphung in Tashiyangtse district. Itis a kind of a fire ceremony to drive away naturalcalamities, illness, famine and other possibledisasters. Oral history reveals that this ritual was firstperformed when a serious outbreak of famine anddiseases engulfed the community. It was performedwhen and where it was required. But gradually itbecame an annual event.

This is basically a Buddhist ritual performed bymonks and lay practitioners. During the ritual, whichis performed at night, a dreadful fire fight betweenthe two agreed groups of villages takes place. Thespectacular fire is produced by tossing finelypowdered barks of woods over the burning torch oflight towards the direction of the opponent. This is asymbol of burning out all bad effects and drivingaway evil spirits from the whole village. When the

fire fight concludes, the two sides unite tosymbolically mark the harmony of the community.Then they together visit houses with soaring flamesproduced from their torches to drive away evil spiritsfrom each house.

After the fire fight, monks with religious musicalinstruments and women carrying volumes ofBuddhist cannons in a procession perambulate thewhole village as a symbol of blessing. The processionfinally gathers in the community temple and the ritualends with a feast for all the participants.

Today people of Tokaphung strongly believe that thisritual brings good harvest and season without anynatural damages such as soil erosion, storm etc. whileon the other hand if neglected, fear so many impactssuch as diseases, unhealthy climatic conditions forcrops, serious attacks on fields by wild animals, andmany more.

Though, it is a ritual patronized by the community,its declining seriousness and enthusiasm to participatestands as an indication of its fall especially in theyounger generations. More and more of the youngergeneration goes to school leaving the village life fortheir parents. The gap between the new and oldgeneration tends to stand apart especially when theyounger generation feels that those rituals are for theelderly people.

Date: 16 August to 31 August 2003

[Field trip # 3]Project: Yartshap pai ChamLocation: Hongtso Choepa (Thimphu district)

A brief introduction to Yartshapai ChamYartshapai Cham is one of the unique mask dancesdedicated to the mountain deity Yartshapa. This maskdance is in fact, a way of worshiping Yartshapa,exclusively by the people of Toep Phendey acommunity under the Thimphu district.

Hongtso was once a summer place for the people ofTeop Phendey located at the other side of themountain. Today these people stay for good inToebesa and it is no more used as a summer place asit used to be before. People have permanently settledin Teobesa. But the legacy of worshiping theYartshapa which has been passed down to


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generations, pulls them back to Hongtsho from theother side of the mountain just for this day.

Today this dance is performed by men from justeleven households. In the past also it was customaryfor these eleven households to conduct this dancefor which the reason is unknown. The numberrequirement for the dance is uncertain. It has todepend on the availability of men from these houses.Therefore, the number of dancers varies every year.

The dancers are required to reach the HongtshoLhakhang the day before the ritual and stay the nightin the temple without mixing with other people whodo not participate in the dance. They go to themountain ridge early in the morning to receive deityYartshapa to the temple. One of the dancers dressesup in the costume of Yartshapa envisaging it to bethe deity and is escorted along with a religiousprocession of music and song. Upon arrival to thetemple, the Yartshapa dance begins.

After the mask dance the masks are sealed into acabinet for the rest of the year and is never disclosedagain until it is time again.

Date: 03 September 2003 to 7 September 2003

[Field trip # 4]Project: LhaboenLocation: Tsangkha (Trongsa District)

A brief introduction to LhaboenLhaboen is a three-day annual event for the peopleof Tshangkha, Tongsa District. It is apparently a Boenpractice patronized by Buddhists. Therefore, someform of Buddhistic elements is also largely noticedin it. Lhaboen is basically the deity appeasing ritualin order to dispel evil and misfortunes and receiveblessings from the deities to establish peace, harmonyand good harvest.

The deities are being received from their citadels inthe mountains formally in a procession of dancingand singing while others construct the ritual altarwhich is considered to be the citadel of the deitiesduring the three days. The ritual begins when thedeities are brought to the newly constructed citadel.At the end of the ritual the deities are again takenback to the mountains which are considered to betheir citadels.

The uniqueness of this ritual which stands in contrastwith the other rituals is that all preparations includingthe ritual cakes, the banners, the erection of thecitadel, have to be made on the very same day. Pre-preparation as in other rituals is forbidden. Therefore,people remain hectic and busy through out the dayright from the early dawn in order to meet the paceof the time to conduct the ritual in the prescribedtime.

As a symbol of receiving blessing from the deities,the principle hosts (normally two) of the ritual whichis rotational, visit all the houses of the village leadby a procession. The house lords receive theprocession with a bountiful of wine and tea.

To mark the successful ending of the ritual womenentertain the audience by engaging themselves insongs while men perform the drum dance which isbelieved to have been introduced by guru Rinpocheto his followers while on his way to the westernsphere.

Date: 04 December 2003 to 12 December 2003

5. Brief summary of activities successfullycompleted over the past 2 years

PHASE 1•A detail list of A/V equipment and editing computerwas chalked out.

•Quotations for the purchase of equipment fromlocal and international suppliers were called.

•A detailed design for the studio and the sound proofcorner was drawn up.

•Audio-visual equipments and editing computerwere procured and installed accordingly

•A guidelines and Rules booklet (Instructionmanual) was developed to establish a systematicprocedure to hire, checkout and handleequipments, including their maintenance.

•Research/survey the type of Database programmefor the project.

•Find, negotiate and finalize with a local consultantfor the ACCESS training and design of theDatabase.

•Training activities:7-8-9 August 2002 -- Introduction to ComputerWeek of 12 & 18 August 200

-- Access training (database)


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Weeks of 19 and 26 August --Training Workshop on Visual AnthropologyWeeks of 2 and 9 September

--A/V training workshop

PHASE IIa)Design and plan activities for Phase IIb)Setting up balanced field trip teamsc)Inventorying of project equipment and relateditems (tapes, CD, DVD etc)

d)Discussion with the participants to design thetraining (as per their needs)

e)Preparation of the audio-visual trainingf)Assessment (testing) of the databaseg)Preparatory discussion with an internationalconsultant in relation to the next trainingworkshop.

h)Planning fieldwork until end of Decemberi)Organizing first fieldtrip (2 weeks in July inEastern Bhutan).

j)Conduction of field work activities in differentparts of the country most of them in the remotelylocated areas.

k)Audio visual training session (refresher course)for 4 weeks in June

l)Workshop on research methodology 2 weeks inJuly fieldtrips and 8 projects achieved.

m)70 hours of audiovisual recording realizedn)75% of all tapes have been properly logged, eachtake being identified

o)Database is now fully functional

6. Conclusion

The experience of the participants in conducting fieldworks in the communities have been enriching andeducating. Today they have learnt to be comfortablein interacting with the community people even inunfavourable conditions. They have learnt the secretof getting closer with the local people and gettingthe right information they intend for.

The local people also feel proud for their indigenouspractices especially when they see people come totheir community from the urban areas withsophisticated audio-visual equipments to documentwhat they perform.

Therefore, the project has been able to documentsome of the fragile practices in different regions andat the same time encourage the local people to keep

continuing the same as treasures to be handed downto their younger generation. More over the project isin the process of developing educational programsto be telecast in the Bhutan Broadcasting Service.


Protecting Issue of Intangible Cultural Protecting Issue of Intangible Cultural Heritage: Royal Ballet of CambodiaHeritage: Royal Ballet of Cambodia

2004 ACCU Regional Meeting in Asia and the Pacific on 2004 ACCU Regional Meeting in Asia and the Pacific on Promotion of Safeguarding Intangible Cultural HeritagePromotion of Safeguarding Intangible Cultural Heritage

26 February26 February--1 March, 20041 March, 2004Osaka, JapanOsaka, Japan

•We are aware that developed, developing and the third-world countries are all experiencing the current movement of globalization.

•Nowadays globalization and the rapid development of new technologies, particularly in terms of communication, can be seen to cause a loss of equilibrium between culture and development.

• This is something all countries need to consider in order to ensure that such development also contributes to the conservation of culture and nature according to the interests of humanity.

• After the Third Round Table of Ministers of Culture held in Istanbul on 16 and 17 September 2002, which organized by UNESCO, 74 ministers of culture adopted a declaration to make intangible cultural heritage and cultural diversity a priority on their agendas.

• In response UNESCO organized a series of intergovernmental meetings of experts for discussion on drafting an international convention for the safeguarding of intangible cultural heritage.

– The first meeting was held from 23 to 27 September 2002

– The second from 24 February to 1 March 2003 The third from 2 to 14 June 2003

This year, the Proclamation is especially significant because of the recent adoption by the 32nd session of the General Conference of UNESCO of a Convention for the Safeguarding of Intangible Cultural Heritage on 17 Oct. 2003.

Cambodia has rich cultural and natural resources such as Tangible, Intangible and Natural Property.

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CAMBODIA

Prof. Hang SothDirector-General of Techniques, Ministry ofCulture and Fine Arts


Following the inscription of the Historic Site of

Angkor, as a World Heritage Site in 1992,

Khmer Classical Dance is now also

part of the Heritage of Humanity.

• Religions and beliefs have played a major part in influencing Khmer Society (namely, Animism, Brahmanism and Buddhism) , as they are fundamental to the Khmer mind-set, lifestyle, traditions, customs, arts and cultures.

Khmer art is reflected in the different forms, such as:Architecture, Painting, Sculpture, Music (more than 27 forms), Classical dance, Popular Dance, Theatre (more than 22 forms), Circus (traditional and contemporary), Oral Literature and so on.

• Classical Dance or Royal Ballet is one of the oldest of the sacred art forms or divine arts.

• This art form reflects the zenith in spirituality, wisdom and technical skill within all other performing art forms in Cambodia.

• In the past of the Angkor civilization, Royal Ballet dancers were recognized as ‘celestial dancers’, ‘servants of god’ or ‘temple dancers’.

Planting

Growing

Young leaves

They were charged purely with the responsibility of performing for the gods or their King (Deva-Raja) and were seen as messengers of peace between the earthly and celestial plains.

Leaves Flowering

92�


Fruit

Ripe fruit

Falling fruit

We can conclude that Classical Dance or Royal Ballet is a female art form because whilst Classically there have been four main roles: which have all been performed by female performers.

Neay Rong

YeakNeang Hanuman

• Additionally, Classical Dance has a number of supplementary roles, including a clown, a hermit and a number of birds and animals, other than the clown and hermit, all roles are performed by female dancers.

Classical Dance or Royal Ballet is the art form that performers use artistic gestures and the expression of emotion to tell the story, supported by a choir and Pin Peat music.

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CHAPTER 3Asia-Pacific Database on Intangible Cultural Heritage (ICH) by Asia-Pacific Cultural Centre for UNESCO (ACCU)

The Pin Peat is made up of ten musical instruments:1. Roneat Ek2. Roneat Thong (16)3. Roneat Thorng or Roneat Dek (21)4. Kong Toch (21)5. Kong Thom (16) 6. A pair of Sralay (small and large) 7. Samphor8. Skor Thom (Large Two Piece Drum) 9. Chhing10. Krab

Classical Dance ActivitiesIn the1960s

There were two performing stages in the Royal Palace


-at Chaktomuk Conference Hall-at Preah Soramarith Theater-at Chamkar Mon-at Government Monument -during the Water Festival-for official delegations

-for general public was only performed once or twice per year.


-at Chaktomuk Conference Hall-at Preah Soramarith Theater-at Chamkar Mon-at Government Monument -during the Water Festival-for official delegations

-for general public was only performed once or twice per year.

• It is urgent to collect the knowledge of the old masters to prevent its disappearance.

• During the two last decades, a long work of revitalization and safeguarding has been done already.

• At the same time, transmission of this knowledge to the new generations is also a priority.

Action Plan

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• Khmer Republic period 1970-75 – Classical dance had nearly no activity – It was performed only for official guests.

• Khmer Rouge period 1975-79– all realms of Cambodian culture had been

devastated . This is especially true within the realm of classical dance.

– 90% of artists and performers were killed.


• Research & Documentation• Development of art education

• Development of the national troupe and other troupes

• Increase access to classical dance at national and international levels

• Optimise the impact of tourism

•Develop legal framework and protection

Thank you for your attention

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CHINAMs. Sun LingpingDirector, Division of Traditional and FolkCulture, Department of Social Culture andLibraries, Ministry of Culture

Ms. Zhao WeiyingSecond Secretary, Division of Multi-lateralAffairs, Bureau for External CulturalRelations, Ministry of Culture

Theme: The Art of Guqin

I. A Brief Introduction of the Art of Guqin

Guqin is a seven-stringed plucked zither. Historicalwritings and archaeological discoveries have provedits existence as early as 3000 years ago. The word“guqin” is a combination of 2 Chinese characters,“gu” means ancient in Chinese, “qin” means theinstrument itself. As time passes, “qin” becomes aterm for the category of musical instruments. It isused as the suffix to names of some imported ornewly-created instruments to reflect their musicalnature, e.g. “Huqin”, two-stringed Chinese Violin,“Yangqin”, dulcimer, “Gangqin”, piano, “Tiqin”,violin, “Guanfengqin”, Pipe organ, etc. Therefore,it is later called Guqin to distinct it from other musicalinstruments whose names suffixed by “qin”.

The Art of Guqin does not have distinct geographicalnature. It is rather practiced by Chinese intellectualstermed as “shi” (social stratum in ancient Chinabetween senior officials and common people) and“wenren”( scholars/men of letters). It is played inscholars’ studies, in Taoist and Buddhist rites andtemples, in open air surrounded by beautifullandscape, and in gatherings of common people withelegant tastes. The practice centers on great “qin”masters and “qin” societies. There have been severalcomparatively concentrated “community places”where the Art of Guqin has been most popular: thelower reaches of Changjiang River dominated byNanjing, Shanghai and Hangzhou; the upper reachesof Changjiang River dominated by Chengdu andChongqing; the lower reaches of the Yellow Riverdominated by Jinan and Qingdao; Lingnan areadominated by Guangdong and Hongkong; andBeijing since 1920s. Major Guqin schoolsformulated since Ming and Qing Dynasties such as

Guangling, Yushan, Chuan, Lingnan and Zhuzhengcame into being in the above areas, which are thecenters of Chinese traditional culture.

Guqin has had its influence reflected in all culturaldomains as Chinese music, Chinese aesthetics, sociallife and ideology. It constitutes the essence ofChinese ancient culture’s delicacy. The exceptionalvalues of Guqin lie in the following aspects:

1. Guqin has established its style early in Chinesehistory. Historical writings have had anecdotesof “bosom friends” knowing and understandingeach other simply by listening to the other’s Guginmusic, hence, “High Mountains and FlowingWater”, a piece Guqin music, has become thesynonym of seeking great friends. The storyreflects the fact that as early as 2500 years agoGuqin has achieved a high degree of artisticexpressiveness and performing skills, whichenable the musicians the easiness to demonstratethe delicacy of their thoughts. In addition, Guqinwas widely used as solos playing purelyinstrumental music, although it could playaccompaniment, as well as play a role in musicalensembles. “The high Mountains”, “The Flowingwater”, etc. were purely musical instrumentals thatwere famous melodies transmitted till today.

2. The perfect harmony between man and the world,between music and thinking, achieved by playingGuqin, reveals a state of easy and unaffectedmanner of the performer, and it constitutes theessence of the spirit of Chinese tradition. Guqinis incomparable by other instruments in itsconnection with the origin of Chinese traditionalculture.

3. Guqin music has proved to be the most precioustreasury of all types of traditional Chinese musicin the process of 3000 years by accumulating over3000 melodies currently in existence. Thesemelodies have captured all aspects of social lifeand given a full demonstration of the mentalityand cultural aspirations of the Chinese people.

4. The music of Guqin is an example of the highestlevel China has achieved 3000 years ago in termsof rhythm, melody, quality and quantity of pieces,playing skills and musical reflections.


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5. The special notation-recording of Guqin, togetherwith the special way of transmitting by oralteaching and inspiring true understanding hasenabled this art to be carried down for over 3000years.

6. The manufacture of Guqin has great merits tooffer. Starting from Han and Tang Dynasty (206B.C-960 A.D) the unique way of the productionof Guqin has remained until today. The processincludes the selection of materials to achievequality sound. It has a way to exploit theroughness of inward surface to achieve a long andechoing rhythm and sound. The lacquer appliedon the surface is specially treated to meet thedemand of sound and aesthetic merits. Naturalfluid is used to protect the instrument from beingworn out from usage.

The Art of Guqin has played a significant role in thecultural tradition of Chinese people. Since ancienttime, the Guqin, chess, calligraphy and painting werethe required cultivation of competence for Chineseintellectuals. And the Guqin was listed on the top ofthe 4, and was the one that lifted and influenced thestate of the other arts. 1) The “qindao”(principle ofthe Guqin) reflects the self-cultivation of“he”(harmony). This art is based on the intellectualcultural tradition and deeply expresses theintellectual’s cultural and philosophical concepts. 2)The form of songs accompanied by Guqin has a longhistory and has made positive influence on Chinesetraditional literature. 3) The legends and storiesrelated with the Guqin, such as “the High Mountains”,“the Flowing Water”, “Yangchu”(bright early spring),“Baixue”(white snow), “Mei Hua San Nong”(Threevariations on the melody ’Plum Blossom’) becameinexhaustible sources of Chinese literature, the artof story telling and local operas.

II. Why and how the Art of Guqin was selectedfor candidature:

An experts’ working group has been set up consistingof specialists of a wide range of art forms,representative from the Chinese NationalCommission of UNESCO and Ministry of Culture.The working group has studied carefully over 20applications submitted by the cultural offices ofprovinces, cities and autonomous regions. 5representative candidates were selected to submit to

UNESCO from China. They are: 1) The Art of Guqin,2) Chinese Folk Art of Paper-cut, 3) Re Gong Art ofthe Tibetan Nationali ty 4) Hand-weavingcraftsmanship “zhuang hua of Nanjing Yunjin” 5)Chuan Ju Opeara. The following standards wereapplied to judging the applications:

1) degree of influence of the particular cultureexpression space;

2) the artistic value;3) degree of disappearance danger;4) significant importance of protection;5) completeness and practicability of the application

materials.

Enough has been said about the influence and theartistic values of the Art of Guqin, next I will dwellon the danger of its disappearance.

The radical social changes in terms of political andeconomical elements have changed the ideal ofChinese traditional intellectuals to cultivate theirmoral character by engaging in the Art of Guqin. Andfor quite a period of time, it was branded as “archaicculture” to be abandoned. The acculturation of theeducation system from the West has intensified thetendency of the Art of Guqin to become mere“ p r o f e s s i o n a l ” o r “ s p e c i a l i z a t i o n ” a n d“performance”. As a result, the rich cultural contentsare ignored. Thus, the transmission tradition of oralteaching and inspiring true understanding throughnotations from masters to students tend to besimplified as a mere teaching of techniques whichcauses the breakdown of the natural morphology ofthe Quqin groups and schools. When the Guqin istaken merely as professional musical skill ortechnique, it causes serious erosion of the profoundconnotation of Chinese intellectual’s cultural spirit.

Immediate actions are needed to: 1) train personnel,2) arrange and compile the repertoire by decipheringnotations, 3) digital treatment to earlier recordings,4) conduct researches regarding the safeguarding andrepairing of instruments.

Finally concerning this topic, a sound application fileis also considered for the recommendation, with theArt of Guqin File complied by the Institute of ChineseAcademy of Arts, the top national researchorganization boasting of experts of all art forms.


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III. Situation of the implementation of the actionplan

The implementing body of the Art of Guqin is MusicResearch Institute of Chinese Academy of Art, aninstitution subordinated directly to Ministry ofCulture. The Institute has been engaged in thepreservation and revitalization of Guqin since 1950s.Work has been done and doing to conduct surveys asto the Qin artists, Qin notations, Qin Societies, Qinmelodies, and the remaining instruments and theirlocations, as well as conduct documentation of QinStudies. The notation-deciphering seminars andconcerts have been and will be organized regularlyat the national and international level by the Institute.However, for a comprehensive implementation of theaction plan, the Institute has yet to compile a detailedplan to be submitted to Ministry of Culture for specialfinancial allocation.

IV. Difficulties faced/facing

1) People have come up with all kinds of questionsas regarding the definition, the procedure, the exactmeaning of certain items, etc although a Chineseversion of the Guide is provided. The confusionis however mainly caused by the concepts of therelated principles and regulations, which are newto most people; the translation is perhaps anotherimportant aspect. It is necessary for us to conductfurther study of the documents and a review ofthe translation specifically regarding the confusionencountered here in China.

2) Translation of the candidatures’ application fileremains to be a big problem. The candidaturesare very specialized art forms or cultural spacesthat belong to local people or ethnic groups andhave very rich connotations. People who areengaged in Chinese traditional and folk cultureusually do not have any foreign language skills.Those who have a fair foreign language skillusually do not have a fair understanding of thetraditional culture. It is a highly demanding jobbecause the translator must combine knowledgeof both. I am afraid it will remain a problem inthe near future.

3) Numbers of applications have been increasingfrom over 10 for the 1st proclamation to over 40 tobe studied for the 3 rd recommendation ofcandidature to UNESCO. As far as I know, there

are more who have plans or have started thedocumentation but have not been able to submitthe applications to the working group. It is notsurprising considering the long history, the numberof ethnic groups, the size and population of China.Specialists will have a difficult time in conductingthe judgments because many fit into the standardsof proclamation. Therefore, I am obliged to repeatthe appeal for more quotas put forward by mycolleague present at this meeting in 2002.However, this difficult situation prompts thegovernment to speed up the work on a nationalinventory.

V. Impact of the Proclamation: reaction of thepublic and the media

The news of the Art of Guqin proclaimed byUNESCO as one of the Masterpieces of Humanityare covered by over 30 national and local newspa-pers. The coverage is different from that of Kunqu 2years ago in that the introduction of UNESCO’sMasterpiece project is no longer considered neces-sary as it is already a well-known project to mostpeople. The proclamation is certainly a boom to therecognition of the values of Guqin among ordinarypeople. It also helps in directing people’s attentionand interests to other traditional instruments such asZheng, Erhu, Pipa, etc. Guqin artists are happy aboutthis trend of return to the traditional art style of har-mony after a period of restless radical pursuits.

I am listing in the following some of the activitiesorganized in different parts of China to celebrate theoccasion:

- A Seminar on the Safeguarding of the World Oraland Intangible Heritage of Humanity was held onNov. 13 by the Chinese Academy of Arts. Mr. SunJiazheng, the Cultural Minister, attended theseminar and delivered a speech.

- Concerts of Guqin were held from Dec. 12-13 inBeijing organized by the Chinese Academy of Artspresenting excellent performances of 9 famousGuqin artists from different parts of China.

- China Guqin Society held a Guqin gathering inBeijing on Dec. 14 attended by Guqin artists andGuqin lovers.

- Jinyu Qin Society in Shanghai organized “A Tourof Guqin on Song River” in Shanghai from Dec.


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25-26 presenting concerts, lectures and teachingsetc. in a package. The event was attended by over100 Guqin artists and fans from 33 cities home andabroad with their ages ranging from 8 to 87 yearsold. Shanghai TV Station broadcasted the wholeevent.

- A concert of Guqin was held on Jan. 1 2004 in HongXian Nu Cultural Center in Guangzhou presentingthe artistry of Lingnan Qin School.

- A ceremony for the restoration of Mei An QinSociety was held on Feb. 6. 2004 in Nantong.

- Chinese Guqin Culture Exhibition opened the 15th

Macao Festival from March 6-28 2004.

VI. Impact of the Proclamation: on national policy

Chinese government has always attached importanceto the preservation and protection of traditional andfolk culture (similar interpretation of oral andintangible cultural heritage). I am just listing a fewof the examples of the protection work at the nationallevel. 1) The comprehensive documentation andpublication of the epics of ethnic minorities after thefounding of the new republic: King Gesar of Tibetane t h n i c m i n o r i t y, M a n a s o f K i r g i z i a nethnic mimority, Jianggar of Mongolian ethnicminority, and the Twelve Mukamus of Uygur ethnicgroup. 2) The documentation and publication of the10 collections of Chinese traditional and folk art andliterature since 1980s. A total of 300 volumes areforeseen while 165 have already been published. 3)204 artists have been awarded with the honor “Masterin Arts, Crafts and Fine Arts” in 4 groups since 1979.

The government’s policies and strategies regardingthe heritage protection are very much broadened andsupplemented with UNESCO’s initiative of theProclamation of the Oral and Intangible Heritage ofHumanity and related heritage protectioninstruments. At a time of rapid globalization, of themarket economy, of industrial ization andurbanization which resulted in the change of livingenvironment and change of ways of life, thetraditional and folk culture tend to disappear sorapidly that immediate actions need to be taken. Thegovernment’s endeavors are stepped up as reflectingthe deep concerns over the urgency and the threat tothe loss of identity and even the loss of culturaldiversity.

1) On legislature aspects: Law on Traditional andFolk Culture (Draft) was finally submitted to theChinese People’s Congress for ratification afterseveral years of discussion and debates. This legalinstrument as the name suggests concerns mostlyoral and intangible heritage, which are not coveredby the Law on the Protection of Cultural Relics,ratified in 1982.

2) On protection measures: the Project on thePreservation and protection of the Traditional andFolk Culture was launched by the Government in2003. Strategies of the Project lie in preservationand safeguarding with rescuing as priority,justifiable utilization and inheritance anddevelopment. It is principled as governmentdominance and society participation; long-termplan and implementation phases; clearresponsibilities and concerted efforts. It isexpected that a comprehensive system ofprotection will be achieved from 2004 to 2020.

China has a long history and 56 ethnic groups,which has contributed to the rich folk cultures thathave local and ethnic features. In view of theabove character, the first 5-year phase of theproject to be implemented will place emphasison establishing network, training specialists,setting up sample sites and conducting generalsurveys. Rescuing the most endangered heritageis placed as priority while doing investigation anddocumentation. Successful cases of Yunnan andZhejiang Provinces will be studied in order to sumup some guidance to be provided to other areas.

However, we have come up with some verydifficult issues while conducting the project, suchas how to deal with the relation between thepreservation of the authenticity and utilization,the protection of intellectual property and sharingof resources, urban construction, tourism-utilization and “Project”, etc. These issues needto be further studied and discussed.

VII. Case studies of successful/on-going IntangibleHeritage promotion/preservation activities

– The Role of a Higher Educational Institute inChina’s Intangible Heritage Protection

China has been experiencing tremendous changes inthe last 20 years, like most developing countries. On


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one hand, the development of economy has greatlyupgraded people’s living standard, on the other hand,the urban construction, the change of ways of living,happening in conjunction with the modernizationdrive nonetheless have caused the disappearance oftraditional and folk culture in an unprecedentedmanner. The concern over this state of the traditionaland folk culture has been felt by both governmentand civil society. When UNESCO adopted“Recommendation of the Safeguarding of TraditionalCulture and Folklore” in 1989 and made the first“Proclamation of the Oral and Intangible CulturalHeritage of Humanity”, the seriousness of the matteris recognized in the world at large. The exceptionalvalues of this catogary of heritage and its importanceto world cultural diversity are made clear andstrengthened, which prompts China’s variousorganizations to step up their work in promotingChina’s intangible heritage protection.

Parties involved in some way in intangible heritageprotection are both governmental and non-governmental. On the part of government, there areMinistry of Culture, Ministry of Education,Education, Science, Culture and Public HealthCommittee of National People’s Congress and theNational Committee of the Affairs of EthnicMinorities. On the part of non-government, thereare the Development Center of the Traditional andFolk Literature and Arts and various arts institutesand arts department in universities.

The case that I am going to present to youdemonstrates the large potentials that civil societycould have in promoting the intangible heritage insociety. It is of tremendous benefit to the culture tomotivate as many as possible the civil forces inrecognizing and promote the intangible culturalheritage.

The Central Academy of Fine Arts, the top instituteof China’s fine arts, took the lead in recognizing theexceptional values of traditional and folk culture byestablishing the China’s first Intangible CulturalHeritage Research Center within the Academy inMay 2002. The center was an enlargement of theformer Center of Folk Fine Arts. Post-graduates areenrolled to engage in degree studies of Folk Papercut and Folk Colors. Conspectus of Folk Fine Artsand Conspectus of Intangible Cultural Heritage areincluded in the regular curriculum. The Centeremphasize on a great deal of field work to provide

indoor classes with fresh and live information. TheAcademy also established a Station conductingresearches of intangible cultural heritage ofNorthwest in Huan County, Kansu Province, to helpwith the preservation of the rich folk cultures in thathuge area.

As the most claimed fine arts institute, the Centeractually functions as an example to brother institutes.It activates the chain actions of intangible heritagestudies in China’s higher institutes. Moreover, theCenter spares no efforts in helping with otherinstitutes in the folklore studies. It has helped withthe setting up of the Research Institute on Kejia FolkFine Arts in Gannan Normal Collage, Jiangxi, ofIntangible Cultural Heritage Research and Educationin Hubei Institute of Fine Arts and Yanan College inShannxi, and Department of Folk Arts and Crafts inAgriculture University in Jilin, etc.

In Oct. 2002, the Center initiated and organized “the1st Seminar on the Education and Teaching ofIntangible Cultural Heritage of China HigherEducational Institutes. How to incorporate intangiblecultural heritage education in the curriculum ofschools and higher educational institutes wasobviously the main topic of the seminar. The resultsof discussions and debates and suggestions putforward by participants would inevitably help the startof the process of securing intangible cultural heritagestudy in education, which would be a big-scalepreservation effort in Society.

In conjunction with Beijing University, QinghuaUniversity and the Central University of EthnicGroups, etc, the Central Academy of Fine Artssucceeded in signifying each New Year’s Day asCultural Heritage Day for Youth starting from Jan,1, 2003. Activities were held on that day by studentsto promote the public awareness and recognition ofthe exceptional values of world cultural heritage.Students were also called on to join in the forces ofcultural heritage undertakings.

When the Academy of Fine Arts took the lead, otheruniversities are not left behind, where researches onintangible cultural heritage and trainings of specialistsalso started, such as Beijing University, BeijingNormal University, Qinghua University, the CentralUniversity of Ethnic Groups, etc.


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FIJI

Mr. Sipiriano NemaniProject Officer, Institute of Fijian Language& Culture, Ministry of Fijian Affairs, Culture& Heritage

STATUS OF INTANGIBLE HERITAGEP R O M O T I O N / P R E S E R V A T I O NACTIVITIES IN FIJI

1.0 INTRODUCTION

1.1 Intangible Cultural Heritage forms the “soul” ofa culture.1 And central to its promotion andprotection is the safeguarding and revitalizationof knowledge and cultural systems.

1.2 The concept of knowledge or ‘traditionalknowledge’, more specifically, has a closerelationship with intangible cultural heritage. Infact, it is at the core of intangible cultural heritagepromotion. Knowledge is the very foundationof indigenous cultures; it is in itself part andexpression of the culture it originates from. Itcreates a relationship between a particularindigenous community and its ancestral territory;relationship between humans as well as betweenhumans and non-humans.

The case I have presented as the above may not bean exact successful case in the sense that it is notinitiated and implemented by a particular organ,rather an actual happening which reflected the strongsense of responsibility and quick action of China’sacademic community in responding to the country’surgent matters. It is obvious that an active andpositive inter-action between the government and thiscommunity and other forces in society will certainlybring about good results in the near future. Happily,the inter-action is happening as exemplified by theProject on the protection of traditional and folkculture, which has absorbed suggestions andexperiences of the academic community in the firstplace and will remain relying on their valuableadvices and active participation. And the governmentis responsible for bigger efforts in promoting andmotivating social forces in joining the mission of thecountry’s heritage protection.

1.3 Indigenous Fijians, like indigenous peoplesaround the world, are unique because we wereborn into very particular family roles andresponsibilities. Responsibilities of a particularfamily would include special knowledge andskills that is passed on down from generation togeneration. These are regarded highly as Godgiven heritage not easy to part with, like othermatters of choice of preference.

1.4 The holistic nature of Fiji’s intangible heritageencompasses the special knowledge and skillsabout:

• Our oral history, events.• Our names – people/persons, places, titles,

ancestral gods.• Our totems – trees, birds, fish, animals, food crops

etc.• Our leadership structures - vanua2 , yavusa3 ,

mataqali4

• Our seasonal calendar and activities.• Our signs and indicators.• Our language.• Our mekes5 , songs, games.• Our methods of food preparation.• Indigenous science e.g. physical healing practices

including knowledge of traditional herbalmedicine.

1.5 Majority of the intangible aspects of the Fijianculture, like most indigenous cultures are mainlyunrecorded. Indigenous Fijian customs, language,dances, traditional etiquette, etc. are oral andpreservation rests pivotally on continual usageand observance. However, given the onset of adominant global culture, with the combinedinfluence, amongst other factors, of a non-conducive cosmopolitan livelihood, an apatheticyouthful population, and emphasis on economicdevelopment, has placed intangible heritage inprecariously desperate positions, continuallybeing threatened, and exploited. The brutal realityis that if indigenous Fijians lose their culture andheritage, especially the intangible ones, those willbe lost forever since, unlike other cultures in thecountry, no fountain exists elsewhere from whichthey can be retrieved. Thus, there is an urgentneed to address the issue and set appropriatemeasures, both in principle and most importantly,in practical terms, to ease such pressure.


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1.6 Over the years, cultural institutions in Fijiconstantly lobbied for government recognitionof the existence of a diverse range of Fijiantangible and intangible heritages that should beconserved for the next generation and utilizedappropriately to allow its continuance. Thisfinally materialized with the inauguration of aDepartment of Culture in 1999, coordinating withother cultural agencies in working towards thepassing of appropriate legislations for the culturalsector and a uniform Cultural Policy for thebetterment of the diverse cultures that exists inFiji.

1.7 For intangible heritage activities in Fiji, majorcultural institutions try to focus primarily on thepreservation of the Fijian culture first, beforeutilizing the same process with other ethnicgroups in Fiji. Two government institutionsdirectly responsible for the management of someof Fiji’s Intangible Heritage include the Instituteof Fijian Language and Culture and theDepartment of Culture & Heritage, althoughindirectly, through the subsidiary bodies that itcaters for: the Fiji Arts Council, Fiji Museum,and the National Trust of Fiji.6

1.8 Hence, for the purpose of this report, I will focusprimarily on the activities undertaken by theInstitute of Fijian Language & Culture and theDepartment of Culture as two major advocatingagencies in Fiji on the promotion of safeguardingintangible cultural heritage. But first, a conciseelucidation on the two aforementionedinstitutions.

1.9 Institute of Fijian Language and Culture.Established in 1986 by a resolution of the GreatCouncil of Chiefs7 and with the endorsement ofcabinet, the Institute is responsible for promotingthe unders tanding , p reserva t ion , anddevelopment of the indigenous language andculture. It undertakes research both in archivesand in the field and acts as a resource center, forlocal and overseas researchers with its substantialarchive of books, journals, audio and visualrecords and other resources on Fijian languageand culture.

Department of Culture & Heritage.The Department, established in 1999, is the primaryadviser to Government on policies that affect the

Culture & Heritage sector and coordinates acrossexisting Government agencies to plan and implementcomplimentary activities. It is the responsible agency-cum-point of contact in government for statutorybodies and NGOs namely the Fiji Arts Council,National Trust of Fiji and the Fiji Museum. Moreover,the Department acts as the link, for the cultural sector,through the Fiji National Commission, to UNESCO.

Both, the Institute and the Department of Culture,are part of the Ministry of Fijian Affairs, Culture &Heritage – the government arm that oversees theaffairs of the indigenous population.

2.0 INTANGIBLE HERITAGE PROMOTION /PRESERVATION ACTIVITIES IN FIJI.

2.1 Public Awareness Raising.

Since its inception, the Institute of Fijian Languageand Culture has over the years and still continues toutilize all forms of media to create awareness andeducate Fijians on the need to maintain and preserveelements of intangible heritage that are on the vergeof disappearing.

First, topics are chosen from a wide range of subjectareas including: traditional religious beliefs,knowledge of the environment, natural history, socialstructure, kinship; music, dance, and games;traditional technologies in the fields of agriculture,fisheries (fishing), house-building, pottery, canoeconstruction and sailing, bark-cloth manufacture,costume and ornament; food preparation, andmedicine; and oral traditions, including fables,legends, and historical accounts. These are researchedthoroughly in archives and in the field, and culminatein their dissemination on radio, newspaper, andtelevision.

The Institute has a weekly feature on traditionalhistory and culture in a local newspaper Na iVolasigaunder the heading “Meda Liaci Keda”8 . Prior to 2000,a language and culture programme “Vosa Bula”produced by the Institute used to be aired on FijiTelevision, however, due to lack of sponsorship andexpertise, the programme ceased to continue.Moreover, the Institute has been for a long time andstill continues to promote and create awareness onelements of intangible cultural heritage through thepopular half-hour programme “Na Noda Vosa”9 on


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Radio Fiji One. Topics covered vary, and havealways been well received by the public.

2.2 Drafting of national legislation for thesafeguarding of the Intangible CulturalHeritage.

One of Fiji Government’s goals for the cultural sectoroutlined in its Strategic Development Plan (SDP)2003-2005 is “The Protection and management ofour culture and heritage for current and futuregenerations”. Culture in this context refers to thediverse manifestation of human intellectual andartistic creativity, that is, both tangible and intangibleheritage. This goal transpired with Fiji’s adoption ofthe Model Law on Traditional Knowledge &Expressions of Culture in September 2002 duringthe regional Cultural Minister’s Meeting, in Noumea,New Caledonia. Drafted by a team of legal expertsdrawn from member, Forum Island jurisdictionsincluding Fiji, and commissioned by the Secretariatof the Pacific Community (SPC), World IntellectualProperty Organization (WIPO), United NationsEducational Scientific and Cultural Organization(UNESCO), and the Forum Secretariat, the Modellaw aims to: Protect the rights of traditional ownersin their traditional knowledge and expressions;permit tradition-based creativity and innovation,including commercialization thereof, subject toprior and informed consent and benefit-sharing;and complement and not undermine existingIntellectual Property Rights. At the root of themodel law is the preservation/ maintenance oftraditional knowledge and expressions of culture,both characteristics of intangible heritage.

Subsequently after Fiji’s adoption of the model lawat the Pacific Cultural Minister’s Meeting, cabinetfully endorsed the proposition in October 2003 andFiji’s Legislation Department is currently drafting themodel law for deliberations in the Lower and UpperHouse of Parliament. However, prior to its passing,the model law will be scrutinized first, assessing itssuitability for Fiji’s situation and subsequentmodification. This will depend on the outcomes ofconsultations with relevant stakeholders.

2.3 Heritage Management

With Fiji’s adoption of the model law, a lot ofpreparatory work needs to be undertaken given thevast aspects of Fijian culture. The Institute of Fijian

Language and Culture, and the Department ofCulture were then assigned the task of fulfilling therequired preparatory work. An important task thatthey considered was the inauguration of a databasefor tangible and intangible heritage data collectedfrom the field, thus, the instigation of the NationalInventory of Tradit ional Knowledge andExpressions of Culture Project. Still in its initialphase, the National Inventory facilitates theidentification of existing traditional knowledge andexpressions of culture and their customary ownerswithin the 14 provinces of Fiji.

To make possible the above, an enormous researchexercise will be undertaken – collecting and verifyingcultural data from respective provinces. Basically,this will be carried out in three phases: a pilot test(which is currently underway) to provide a foundationfor the entire data collection process, focal collectionof cultural data by researchers, and the assessmentand input of new data to facilitate the authenticationand alteration of primary data by cultural agenciesnominated as Heritage Management Organizations.An appointed Indigenous Intellectual Property RightsAdvisory Committee has designed a questionnairefor this specific purpose. Workshops will be mountedprior to this research exercise for the purpose ofeducating stakeholders. Coupled amongst projectobjectives, the following are notable:(a) Raise public awareness and appreciation, and

provide support to custodians to play a central rolein the protection and maintenance of traditionalknowledge and expressions of culture (tangibleand intangible heritage).

(b) Build links between custodians and the youngergeneration in order to encourage the transmissionof knowledge and know-how related culturalexpressions in danger of disappearing.

(c) Establish a registry for Living Human TreasuresCustodians.

The project could be used as a basis for therecognition of the masterpieces of oral and theintangible heritage and living treasures in Fiji.

2.4 Reviving once-endangered Heritage.

The Department of Culture & Heritage, incollaboration with the Fiji Arts Council, theorganization responsible for the promotion andpreservation of visual and performing arts in Fiji,initiated in 2002 a Cultural Mapping programme,


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which involves visiting a community identifying anddocumenting local cultural resources. Through thisprocess, cultural elements are recorded – the tangibleslike arts and crafts, sites, distinctive landmarks andlandscapes, as well as the intangibles like voices,values, traditions, memories, special events andneglected community histories.

The Programme is undertaken in 3 main stages. StageOne is primarily the awareness and research phasewhereby the Principal Advisor and Facilitator fromthe Department of Culture, and partners through theculture network, visit designated villages identifyingcultural elements of utmost significance to thevillagers, and are in danger of disappearing. Thesecond stage involves community activities in theform of workshops for the villagers. The concludingphase entails an evaluation of the project:documentation of findings, experience gained, andreport on anticipated ongoing applications andbenefits.

So far, the two collaborating agencies have conductedmore than 5 workshops on the following aspects ofonce-endangered heritage:- 2 Bure-Building Workshops held at Natavea, in

the Naitasiri Province, and Rokovuaka Village, inthe Ra Province. The purpose of both workshopswas to revive bure-building skills. The revival ofthis traditional skill was considered essential, asmost villages had lost the art of constructingtraditional houses.

- 1 Pottery Skills Workshop. The village ofNasaucoko, in the Nadroga Province, located inthe interior of Viti Levu, one of the main islands ofFiji had pottery remnants found on old house sitesand on the outskirts of the village but have noknowledge of pottery making. A historical analysisof the area indicated that in pre-colonial era,ancestors of the area were gifted potters. Thus, theworkshop was held to revive pottery makingamongst present descendants of those gifted potter.

- 1 Traditional Fijian Ceremonies Workshop.Traditional ceremonies in Fiji are intricate, delicate,and differ amongst provinces, thus, require a personto have thorough knowledge prior to making atraditional presentation. The workshop atRokovuaka Village in Ra was aimed at revivingand transferring ceremonial skills from the oldergeneration to the young ones. The elders of thevillage were used as resource persons.

- 1 Wea-weaving Workshop. Wea is a traditional

fishing net specific to the Lasakau people of Bau,the home of Cakobau, Fijian chief who ceded Fijito Great Britain. The Lasakau people wereCakobau’s fishermen. The workshop wasundertaken after grave concerns by a Lasakau elderthat their wea-weaving techniques will cease toexist if he dies.

- 2 Handicraft Workshops. With the primary aimof strengthening their eco-tourism projects, the twovillages involved, Namuamua of Namosi Province,and Natavea Village in the Naitasiri Hills engagedin making traditional baskets, weaving mats,carving statues, and screen-printing.

These activities assist in the promotion of creativityin all forms through safeguarding and enhancingFijian cultural and natural heritage in tangible andnon-tangible, movable and immovable forms.

2.5 Intangible Heritage in Education.

The Fijian Language, an intangible heritage and asthe main mode or means of communicatingknowledge, is a priority at the moment for inclusionas a compulsory subject in primary and secondaryschools in Fiji. Besides, government, in its 20 Yeardevelopment Plan (2001-2020) for theEnhancement of Participation of IndigenousFijians and Rotumans in the Socio-economicdevelopment of Fiji, strongly recommended for theintegration of the Fijian knowledge system within theofficial knowledge system. This involves the inclusionof Fijian language, literature, culture and performingarts in the curriculum – to be examinable like anyother subject and not regarded as an extra-curricularactivity. For the concept to materialize, resources willbe allocated for research to be conducted into and asystematic recording undertaken of knownindigenous knowledge, traditional and oral literature,traditional health issues, and so forth. For thispurpose, the Ministry of Education has frequentlyconsulted the Department of Culture and the Institutefor their input in the revised education curriculum.

Amongst tertiary institutions, promotion of intangibleheritage curricular is encouraged at the Fiji Instituteof Technology (FIT), a technical/vocational school.The School of Arts, Culture & Design recruitcommunity cultural knowledge resource people toconduct 3 – 4 hour classes on sinnet and mat weaving,tapa making, wood carving, pottery making, chantingand meke techniques. The Oceania Centre at the


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University of the South Pacific, even though it isregional oriented, encourage its students to pursueperforming arts, contemporary arts and musicapproach from their respective countries.Consequently, local, skilled custodians and teachersof an art, in any genre, are employed to assist students.

On a non-formal level, primary and secondary schoolstudents are encouraged from home to performtraditional dances during school concerts and schoolprize giving ceremonies. Upon the insistence ofstudents, teachers than take the liberty of acquiring adaunivucu10 to choreograph a traditional dance andsong for the students’ cultural performance.

Thus, it is worthwhile to note that intangible heritagepromotion is slowly getting the formal recognitionstatus it needs in Fiji, so that it is adequatelymaintained.

2.6 Related examples of safeguarding intangibleheritage – “Fijian Dictionary Project”.

Since colonial times, English has and is still widelyused in Fiji schools, government offices, and even inurban homes, as the main mode of communication.Fijian language was becoming insignificant. Thus,the Institute of Fijian Language and Culture wasinitially entrusted with the pivotal responsibility ofresearching and publishing a Monolingual FijianDictionary. After almost 26 years of research, the firstissue of the iVolavosa VakaViti, with more than25,000 entries is ready for publication. The dictionaryis essentially an encyclopedia of traditional andcontemporary Fijian life; its publication will enhancethe promotion and safeguarding of an intangiblecultural heritage in Fiji, the Fijian language.

3.0 FOLLOW-UP ACTIVITIES OF THE 2002REGIONAL WORKSHOP.

3.1 Nomination for a National Body responsiblefor the candidature file.

Subsequent to the 2002 Regional Workshop in Japan,the Fiji Arts Council was designated by governmentas the National body responsible for the protectionof Intangible Heritage in Fiji. Basically, they were tocarry out the practical-aspect of an endorsedcandidature to be submitted to UNESCO as Fiji’snominee for the “Proclamation of Masterpieces of

the Oral & Intangible Heritage of Humanity and theLiving Treasures”.

3.2 Fiji’s nomination for the candidature file.

A candidature file for the Revival of the traditionalFijian ‘BURE’ (house) building skills was endorsed.Fiji’s nomination derived from the results of aresearch survey in 2002 by a team of architectureand anthropology professors and students fromVienna, Austria, who visited Fiji to study traditionalbuildings. The research confirmed that people (locals)often do not know details about why parts of thetraditional houses are built in a specific way, andcarpenters with the knowledge are becoming rare.Hence, to strengthen consciousness about traditionalarchitectural ‘know-how’, a discussion wasencouraged to protect old traditional buildings asvaluable heritage of Fijian culture. This was seen asa window of opportunity to nominate Fijian bures asFiji’s candidature for the Proclamation.

Preliminary work on the project had begun but waslater discontinued because of the many challengesthe Department of Culture and the Fiji Arts Councilhad to endure. Some have been highlighted below:- Ministerial reshuffl ing. In 2002, after

reconsidering its priorities, government shiftedDepartment of Culture from the Ministry ofTourism to the Ministry of Fijian Affairs,resulting in a change of priorities, policies andkey result areas for the Department.

- Less coordination and lack of human resources.The Department of Culture and the Fiji ArtsCouncil continue to face shortage in expertiseand personnel to specifically undertake projectsby the Department.

- Lack of funding. Government from time to timeredirects allocated funds for the Department toareas that need immediate attention.

- Less detailed research on different burearchitecture that exists in Fiji, hence, fewerresources to work with.

- Less or no resource person from a specificlocality or province in Fiji who have immenseknowledge of bure-building skills specific totheir region.

- Government prioritizes and provides assistancefor the building of modern houses in villagesrather than traditional houses; hence, skills fortraditional house building are quicklydisappearing.


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Besides, it is notable that given the challenges thatthe cultural sector in Fiji faces, we have managed tosurpass most odds, on the national scene, in trying topromote the safeguarding of Intangible CulturalHeritage.

4 . 0 C O N C L U S I O N : E X P E C TAT I O N SENVISAGED.

4.1In light of what has been discussed earlier in thisreport, the following is envisaged as Fiji’s expectationfor this regional meeting: [i] showcase Fiji’s effortsin the promotion of safeguarding Intangible CulturalHeritage; [ii] learn from other Asia-Pacific countriescandidature submission for the Proclamation – theirexperiences; [iii] general awareness on theproclamation programme; [iv] utilize the meeting asa forum to foresee solutions to challenges that Fiji iscurrently facing, especially in the areas of funding,if assistance could be sought.

1 Tangible heritage form the ‘body’ of a culture;and together (tangible + intangible heritage) theyform the whole -Culture.2 Vanua – state-like structure; composed of severalyavusa.3 Yavusa – a tribe; composed of several mataqali.4 Mataqali – clan; composed of more than oneextended families.5 Meke – term for traditional dances.6 Other government, statutory, NGOs and educa-tional institutions that hold aspects of FijianIntangible Heritage especially oral tradition in-clude: Native Lands & Fisheries Commission,National Archives, Fiji Broadcasting Commission,Institute of Pacific Studies at the University of theSouth Pacific in Suva. They, from time to time, addnew records to their existing list.7 The highest indigenous institution in Fiji thatconsists of the paramount chiefs from all over Fijiwho are automatic members, with appointedrepresentatives from the 14 Provincial CouncilOffices.8 Translated: “Let’s examine ourselves (Fijians)”.9 Translated: “Our Language (& culture)”10 Composer of traditional songs and choreogra-pher for traditional dances or meke.

INDIA

Dr. Sudha GopalakrishnanMission Director, National Mission for Manuscripts,Department of Culture, Government of India

Theme 1: ORAL TRADITION OF THE VEDASAND VEDIC HERITAGE

“… for about 3,000 years, a class of peopledevoted themselves in relative isolation to theformal preservation of a large number of oralcompositions, confining themselves almostentirely to sound. This transmission has beenat least as faithful as have been manuscripttraditions in other parts of the world. Sound,though perhaps not as durable as stone orclay, has proved much less susceptible towear and tear than paper.”

(Fritz Staal, noted Vedic scholar and author ofAgni: The Ritual of the Fire Altar)

WHY AND HOW VEDIC CHANTING WASSELECTED

The Vedic tradition is probably the world’s oldestliving oral tradition. The Vedas are a vast body ofSanskrit poetry, ritual treatises, dialogues and philo-sophical discourses composed over a period of manycenturies. The Hindu religious tradition considers theVeda as the prime source of its heritage and culture.As the basic scripture of the Hindus, it is revered assupreme knowledge and accorded the highest placein their life since time immemorial. The word “veda”deriving from the Sanskrit word “vid” which means“knowledge”—the hymns of the Veda are consideredby traditional scholars as “revealed” (sruti) litera-ture, not derived from a particular faith or scripture,but believed to have come into being through thecollective wisdom of sages and seers with extraordi-nary powers, and this is the reason for their uniqueauthority and influence in the Indian cultural tradi-tion. They have been compiled through the course ofseveral millennia (traditional scholars assigning datesas varied as between 10,000 B.C. and 5,000 B.C, anddifferent historians between 4,000 to 1,500 B.C.)

Basically meant for chanting during rituals and sac-rificial rites, the Vedas are traditionally passed onfrom generation to generation through oral teaching.Written in Sanskrit, the Vedas are primarily in fourcollections called RigVeda, Sama Veda, Yajur Veda,


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and Atharva Veda. Collectively, these are referredto as samhitas. Essentially consisting of hymns(samhita-s), liturgies (brahmana-s), symbolic inter-pretations of rites (aranyaka-s) and philosophicteachings (upanishad-s), the Vedas have branchedout into multiple canons, texts, interpretations andsub-branches, in the course of its transmissionthrough centuries and from generation to generationtill the present day.

Even though Vedic texts may have been written downduring ancient times and used for reference, theirtransmission is still purely oral. Traditionally, therecitation of the Vedas is part of the everyday life ofthe community of Vedic practitioners. Wherever tra-ditional culture of Vedic recitation exists today, theyare still recited on a daily basis. They are also usedin the application of a variety of specific religiousrituals, which are conducted from time to time inIndia.

In the olden days, a way of life firmly rooted inspirituality played an important part in maintainingthe Vedic recensions and schools. The oral traditionof the Vedas was sustained by the community ofbrahmins in India who passed it on to the youngergenerations. Within the community, there were somewho are exclusively engaged in learning and teachingof the recitation of Vedas. The number of practitionerswho can recite correctly has dwindled considerably.Atharva Veda chant has considerably declined, andthere are only a very small number of practitionersin India who are capable of reciting it. Due to lack ofencouragement, opportunities for suitableemployment and support, there are not enoughstudents who come forward to pursue these kinds ofstudies, and not many teachers (acharya-s) alsoqualified to teach them.

Through the centuries, the members of specificcommunities have transmitted Vedic recitationsorally. Each of these practitioners belongs to aparticular community and to one particular branchof the Veda and is initiated into the particularbranch by his father or teacher, either at home or ina Vedic school. The elaborate mnemonic methodsused to safeguard the proper formal transmissionof these compositions and eliminate or thedecrease of danger of losing words, syllables oraccent are perhaps unparalleled in theirsophistication and detail.

The unique value of Vedic recitation, apart fromthe fact that it encodes the wisdom contained in theVedas, lies in the utmost purity of its chantingtechnique, without the infiltration of corruption oreven the slightest change through the length andbreadth of India down the centuries. Theextraordinary effort of memorization that theancient sages have created may have been becauseof the fact that a definite system of writing did notexist during the times the texts were composed.Even if some form of writing existed in those days,it seems to have been considered alien to Vedicheritage, and was used mainly for commercial useand edicts.

Among those branches (sakha-s) of Vedic recitationwhich were selected for recognition are

1) Paippalada Sakha of Atharva Veda2) Maitrayani Sakha of Krishna Yajur Veda3) Jaiminiya Sakha and4) Ranayaniya Sakha of Sama Veda

Among these,

•Paippalada is practically extinct, except one or twopractitioners left in a remote village in Orissa,Eastern India

•The Maitrayani branch of Krishna Yajur Vedasurvives in Nasik and Kandesh districts ofMaharashtra, Central India

•Jaiminiya Sama Veda tradition barely exists insome villages in Tamil Nadu and Kerala in SouthIndia

•Similar is the case of Ranayaniya, which is alsopractically extinct,except perhaps in Karnataka,South India

These four branches of Vedic chanting selected forthe proclamation are in grave danger of disappearing,if measures for safeguarding are not adoptedimmediately. Paippalada branch has practically lostthe tradition of chanting with svara-s, and now thereis an effort to revive the tradition of pada patha, byreferring to lakshana gantha-s (descriptive manuals).Both the Ranayaniya and the Jaiminiya traditions ofSama Veda have few practitioners. PresentlyJaiminiya in Kerala has only four practitioners, andthe number of students is also very low. In Maitrayani,the school (Sri Yogiraj Veda Vidya Ashram, Barsi,Solapur) visited by the group for documentationgroup had only two students, and one teacher.


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DIFFICULTIES FACED DURING SELECTIONOF THE CANDIDATURE FILE

Many people even in India do not understand thespiritual basis of the Vedas and its value as theembodiment of Indian culture today. TraditionalVedic scholarship, which was preserved down thecenturies as an unbroken tradition, is now on the vergeof disappearing. There are no means available forthe custodians of this knowledge to survive byfollowing it as a full-time profession. With thecrumbling of traditional modes of support toinstitutions and Vedic schools (pathasala-s), themembers of the traditional families who werecustodians of the different branches of the Vedas haveturned to pursue more lucrative professions. Each ofthe four Vedas—Rig Veda, Yajur Veda, Sama Vedaand Atharva Veda--had several branches and sub-branches. According to traditional scholarship, outof the twenty branches and twenty-one sub-branchesof the Rig Veda, only two have survived today.Similarly, out of hundred-and-one branches of YajurVeda only six have survived. Sama Veda, which issaid to have had a thousand branches, retains todayonly three. In Atharva, out of nine, only two exist.There are no traditional Vedic schools in India wherethese are being taught.

While making a candidature file for the four schoolsof Vedic chanting mentioned above, the first problemwas in actually locating the practitioners of thesesakha-s.While responding to the challenges of modernity, thepeople who are bearers of this tradition have adaptedby accepting changes, and by putting its resources toever-new uses. In a tradition that insisted on life-longdevotion and strict discipline through long hours ofsustained practice, the method has given way to part-time teaching (in Jaiminiya Sama Veda of Kerala,for example). Some students, realizing that Vedicchanting as a vocation is not enough to support themthrough life, are also following a ‘regular’ school/college curriculum. This has affected the quality ofteaching/learning the Vedas. In another school (whichhad a better financial back-up), a student reportedthat he joined a Vedic school to escape hunger,because the students were provided with freeboarding and lodging. Many of the students in theseschools expressed concern about their future, as theyfelt that this profession is not capable of sustainingtheir livelihood.

The tradition of srauta ritual is still preserved in India.However, since the way of material life hasconsiderably changed, maintenance of theperformance of those rituals in the strict disciplineand traditional format has become very difficult. TheAgni sacrifice conducted in Kerala in 1975 and in1990, as well as the Agnistoma sponsored by JanHouben, a Dutch scholar from Leiden, are somerecent examples of the performance of thesecomplicated rituals.

CURRENT SITUATION REGARDING THEIMPLEMENTATION OF THE ACTION PLAN

The action plan for revitalization of Vedic chantingenvisages the following steps:

• Revitalisation of Vedic chanting by establishing alarge number of traditional schools with thetraditional gurukula system of oral teaching,evolving common curricula of teaching/learningthe chants and arranging for meetings betweenscholars of the same branch of Vedic chanting

• Preservation of chants through refreshercourses, and interactive workshops of theteachers, tests for the students, providingfellowships and stipends for young students asan incentive to take up as a full-time profession,workshops on the topic to be arranged acrossthe country, conducting rituals and rites con-nected with the chants (srauta karmaparamparas) across the country and externalevaluation by experts

• Safeguarding by conserving throughdocumentation of Vedic chanting by survivingpractitioners of each branch of recitation,establishing archives for maintaining audio/videorecords in select centres in the country producingaudio/video recordings of Vedic chants, digitallypreserving the texts, for reference and researchpurposes.

• Dissemination methods involving organizinglecture-demonstrations conferences/seminars ofVedic recitations, celebration of Veda JnanSaptahs (week-long recitation of texts) andpromotion of research and publication.


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Theme 2: ACTION PLAN ON SAFEGUARDINGAND TRANSMISSION OF KUTIYATTAMSANSKRIT THEATRE

Background

Kutiyattam is the oldest existent classical Sanskrittheatre of India. It has a history of about two thousandyears and is a unique phenomenon in the history ofSanskrit theatre, by being the only surviving link tothe otherwise lost tradition of performance of Sanskritplays. It has its own distinctive characteristics interms of theatrics conventions and method of acting.In its highly stylized and expressive theatricallanguage, facial expression and the language ofgestures are prominent.

The Proclamation by UNESCO of Kutiyattam as aMasterpiece of the Oral and Intangible Heritage ofHumanity received great attention in the media acrossthe country, and this has resulted in boosting theimage of this traditional art form to a nationalaudience. It has caught attention of people from avariety of fields in India including artists, mediapeople, theatre scholars and administrators. In theprovince of Kerala where the art form survives, thereis a feeling of pride that a sacred art belonging to theregion has won international recognition. It has re-emphasized the value of the art form in the localcontext. For the community of Chakyars and a smallgroup of aficionados who strove to keep this art alive,it is a vindication of their efforts.

After the announcement of the recognition, theKutiyattam community has come together for the firsttime to address in common issues and share know-

The Government of India under the Department ofCulture is the coordinating agency o safeguard andrevitalize Vedic culture and the different modes ofVedic chanting prevalent in India. The project is beingimplemented through the association of the fourprime organisations already in existence in Indiacarrying out the responsibilities in the direction offurthering the objectives of the programme, andsupported by the Ministry of Culture, Governmentof India. These institutions are:1. Indira Gandhi National Centre for the Arts, New

Delhi 110 0012. The Maharshi Sandeepani Rashtriya Veda Vidya

Pratishthan, Ujjain 4560103. The Maharshi Veda Vidya Pratishthan, Pune,

Maharashtra.4. The Veda Rakshana Nidhi Trust, Sri Kamakoti

Peetam Sri Matam, Kanchipuram. Tamil Nadu.

All these organisations are already engaged in thetask of trying to safeguard and revitalize Vedic cultureand the different modes of Vedic chanting prevalentin India. The main objective of the establishment ofMaharshi Sandeepani Rashtriya Veda VidyaPratishthan is the preservation of the oral traditionof the Vedas. Indira Gandhi National Centre for thearts is a premier institution devoted to the study ofIndian arts and culture from an integrated perspectiveof research, documentation and dissemination. Afterthe declaration of Vedic chanting as masterpiece byUNESCO, The Department of Culture has initiatedthe process of revitalization of Vedic chanting. Abudget line has been activated in the Department ofCulture for the implementation of the action plan.As a preliminary activity, workshops are beingorganized in the areas of proximity of the Vedicchanting traditions to create awareness and elicitopinion from the bearers of tradition to theimportance of safeguarding them.

OTHER HERITAGE THAT WAS CONSIDEREDFOR CANDIDATURE

Given the multiplicity and complexity of intangibleheritage in India, the selection of a single item forrecognition is a challenging process. Other forms ofheritage that came for consideration at the time ofselection were the shadow puppet tradition of India,the ritual dance performance of Theyyam from Keralaand the dance of Lai Harouba from Manipur.However, the Vedic chanting was found to havepriority and unique value for, apart from the fact that

it encodes the wisdom contained in the Vedas, itretains utmost purity of its chanting technique,without the infiltration of corruption or even theslightest change/variation from one place to the otherthrough out the length and breadth of India down thecenturies. Without resorting to writing, this systemof recitation contained many ways to prevent even avery small error to creep into the Vedas. Secondly,the four branches of Vedic chanting selected for thecandidature were found to be in grave danger ofdisappearing, if measures for safeguarding were notadopted immediately.


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artists to debate on various aspects of the protectionand revitalization of the Kutiyattam heritage. Therefresher courses will explore the possibility ofevolving a common theatre grammar forKutiyattam.

The research facilities in all the six institutions willbe improved, with the creation of AcademicResource Centres in the schools. A centralizedarchive and library will be created with cataloguingand electronic storing facilities to preserve theliterature, documents, performance manuals andaudio-video material on Kutiyattam. Seminars willfocus on “Exploring Links in aesthetic Theory andPerformance Tradition”, “Kutiyattam and IndigenousInfluence” and “Kutiyattam and Asian TheatreTraditions”. The publications will include criticaleditions and translations of manuscripts and originalwritings on Kutiyattam. A documentation ofMasters Series will be directed towards the detaileddocumentation on distinctive artistic style andtechnique of master-performers of Kutiyattam.

GOVERNMENT OF INDIAAt a national level, Kutiyattam Sanskrit theatrereceives official recognition and the public awareness(artists, creators, researchers, journalists, culturaladministrators) was heightened to the importance ofsafeguarding and revitalizing this cultural form ofexpression, which was on the verge of disappearance.A comprehensive action plan has been evolved bythe Government of India through the Department ofCulture to revitalize the art form by affording it anational status, ensure its patronage and support itfinancially. This scheme, aimed at sustaining thespecific needs of institutions through targetedprogrammes, has the following components:

(1)Enhancement of facilities for the study andperformance of KutiyattamThis will be in the form of infrastructure for schoolsand theatres, remuneration for artists and others andfunding for conducting rehearsals.

(2) Financial support to Eminent TeachersIntended for teachers with considerable knowledge,experience and standing in the art, this schemeprovides for sustaining these preceptors, even thoughthey may be advanced in their age, for passing ontheir knowledge to the younger generation.

how relating to this 2000 year-old tradition,previously held in an individual and private mannerby the three existing custodian families, and toaddress the issue of its revitalization. Though at theoutset, there were some misgivings in terms of thebenefits of such a proclamation, the patrons andpractitioners of Kutiyattam have decided to formthemselves into a network and work together forcommon goals.

The twin programmes of resuscitation of Kutiyattamdeveloped by UNESCO and the Government of Indiahave given new lease of life to this a new lease oflife to this valuable but largely neglected art form.While UNESCO’s intervention is planned as a one-time grant through the UNESCO/Japan Funds-in-Trust, the Government of India has a sustaining modelof continued support through a series of well-definedschemes.

Action Plan for Kutiyattam

UNESCOThe action plan for the revitalisation of Kutiyattamis designed to develop a network of Kutiyattampractitioners and enthusiasts and to support itspromotion and revitalisation. Under the UNESCO/Japan Funds-in-Trust for the preservation andpromotion of intangible cultural heritage, UNESCOhas developed a comprehensive plan for thesafeguarding and transmission of the KutiyattamSanskrit Theatre. Through the signing of anAgreement between UNESCO and the Governmentof India, a project of revitalization of Kutiyattam fora three-year period of 2004-2006 has already started.

There are six institutions responsible for handingdown the tradition of Kutiyattam, including the MargiCentre, which is the co-ordinator of the network. Thepromotion of performances will bring together artistsfrom all the major schools of Kutiyattam on acommon platform. An archive is planned in order topreserve the actors’ manuals and audio-visualdocuments of the performances will be put togetherwith a series of documentary films on the masters ofthis theatre form. The effort will also be to make thetraditional theatre houses available for publicperformances. Annual interactive workshops with theparticipation of all the schools will be organised aswell as refresher courses for all the artists andstudents from the Kutiyattam Institutions. Thisworkshop should also allow scholars and performing


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(3) Financial support to training institutionsUnder this scheme, monthly salary will be madeavailable to existing teachers, stipends for studentsand monthly grants to institutions for running costs.(4) Revival of Old Choreographic Texts andProductionsThe reviving of a Kutiyattam play based on ancientchoreographic texts, require long years of researchand dedicated effort, for most of them have alreadyfallen into disuse, and need to be painstakinglyreconstructed. The specific grant towards thiswould extend the repertoire of Kutiyattam.

(5) Enhancing performing opportunities anddiscussionsExchange of ideas through lectures and discussionsare extremely important for resuscitation andsustainability of any art form. With this idea inview, the programme would support theconducting of such dissemination activities aslectures, workshops, seminars and performances.

INDONESIA

Dr. Meutia Farida Hatta SwasonoDeputy Minister of Culture and Tourism

Theme: WAYANG AS A MASTERPIECE OFCULTURAL HERITAGE OF INDONESIA

Introduction

Wayang* has been chosen as a Masterpiece ofIndonesian Cultural Heritage as it is regarded as anintangible tradition of high cultural quality. It is anart with a profound philosophical meaning, and alsoexquisite in shape. Wayang has been known by thepeople throughout Indonesia since at least the tenthcentury until the present time. Wayang is acombination of five cultural aspects: (1) creative art,as a new concept and creativity; (2) stageperformance; (3) art, in the form of sculpture andpainting; (5) literature; and (5) philosophical andeducational aspects. All these aspects have madewayang appear in its full form, covering the aesthetic,ethical and philosophical dimensions.

There have been approximately 100 kinds of wayang,some of them still exist and are still developing today,

while the others have slowly faded away or havedisappeared. Those still performed and enjoyed by alarge portion of the Indonesian people are theJavanese Wayang Kulit Purwa, the Sundanese (WestJava) Wayang Golek (wooden puppets), and theBalinese Wayang Purwa (Wayang Gambuh). Whilethose fading away are the South Kalimantan WayangBanjar and the South Sumatranese WayangPalembang.

The selection of wayang as a masterpiece ofIndonesian intangible cultural heritage has been madepossible by the collaboration between the Ministryof Culture and Tourism and the National Secretariatof Indonesian Wayang, called SENA WANGI.Through the support of the Ministry of Culture andTourism, SENA WANGI conducted a five monthsresearch on wayang, from April to August 2002. Onehundred types of wayang were represented by 5 typesof wayang from Central Java, West Java, Bali, SouthSumatra and South Kalimantan. The researchfindings were compiled and sent to the UNESCOfor an evaluation process. As a result, on November7, 2003, wayang was proclaimed as a masterpiece ofIndonesian Intangible Cultural Heritage.

Difficulties in Selection

The difficulties faced during the selection of thecandidature pertained to the distribution of data onwayang throughout Indonesia. For some culturalitems, data were abundant, while for others, data werelimited. However, difficulties have been able to beminimized through the collaboration of thegovernment and SENA WANGI. Moreover, in manyplaces, wayang is still enjoyed by a large portion ofIndonesian people. Reformation in mediacommunication on TV has significantly facilitatedthe socialization of wayang kulit (shadow play)performance to the non-Javanese communitiesthroughout Indonesia. When the media displayed thewayang performance on TV with the Indonesianlanguage subtitles, more Indonesian people beganto appreciate wayang compared to when they wereperformed only in ethnic languages.

Current Situation Regarding the Implementationof the Action Plan

Public Awareness Raising (Advocacy, Publicity). Inthe past 3-4 years, due to the intensiveimplementation of Regional Autonomy, the Central


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Government has shifted its function to the steeringrole and policy making, while the ProvincialGovernments have become more dominant in the rolefor supporting the local population and businesscommunities in implementing programs on wayangconservation and development.

The media has an important role in providinginformation on wayang performances and news onwayang exhibitions and wayang development. Suchinformation dissemination covers for example, thelive wayang performance where the actors speak bothin the Indonesian and ethnic languages, in order toattract more viewers from diverse ethnic groups.

Data on the Indonesian people and cultures can beaccessed at the website www.budpar.go.id andwww.culture.or.id.

Legal Framework. At present, regulations for theprotection of folklore have already been issued.Socialization to the society and mass media will startsoon.

Heritage Management. Since the enforcement of theLaw (Undang-Undang) No. 22 of 1999 on RegionalAutonomy, there has been a major change in themanagement of culture. Whereas in the past themanagement was centralistic, at present, themanagement of culture is decentralized, meaning thatProvincial Governments, due to the intensiveimplementation of Regional Autonomy, have a majorrole in preserving and developing culture, includingwayang performance and production. The CentralGovernment has the supervising and facilitating roles,while the Provincial Governments and the respectivelocal communities are the ones that manage theircultures.

The management of wayang preservation anddevelopment encounters obstacles in some placeswhere human resources are limited. This is especiallyfelt in places where wayang experts, wayangproducers or wayang puppet makers, wayangviewers, as well as wayang trainers, such as thedalang (the leader and conductor of wayangperformance), and traditional gamelan music sets,as well as interest for wayang performances, arerelatively scarce.

Training of Wayang Performers as an Effort toPreserve Wayang. The government and other

institutions as well as individuals in the society asstakeholders have been aware of the importance ofprotecting, preserving and developing wayang andwayang performance.

There are two kinds of preservations: (1) preservationby record; and (2) preservation by practice.

The preservation by record is done by thedocumentation of wayang puppets, the wayang set(gamelan music, performers, etc), as well as wayangperformances and stories, which are often based onthe great epics of Ramayana and Mahabharata.

The preservation by practice deals with the trainingsfor young performers, preservation, protection, anddevelopment of wayang performance. Materials fortrainings include the technique of photography, thetechnique of designing a map on wayangperformances and distribution of each kind of wayangthroughout Indonesia, as well as collecting data fromvarious archives, recording by video and digitalcamera, measuring technique, etc.

At present, the campaign for tradition consciousness,tradition protection, tradition development andtradition revitalization are distributed and socializedthrough all types of media.

Education. Education of wayang for the schoolchildren is carried out through their curriculum, as asubject in the local content of the curriculum.However, previously it did not reach the wholepopulation of school children. Many children, evenin Java, became ignorant and could not enjoy wayangperformances. Being cognizant of this situation, theMinistry of Culture and Tourism has thereforeinitiated an intensive action program for wayangsocialization. Stakeholders have been invited tocollaborate in research, to participate in seminars ontraditions, and many kinds of tradition performanceprograms. One of the stakeholders is the pramuka(boys-scout and girls-scout group), where theiractivities are enriched by the introduction of wayangand other cultural heritage, with the purpose ofincreasing their interest and care for Indonesian ethnictraditions, including wayang.

Other Potential Heritage.Other potential intangible heritage in the future wouldbe the keris (traditional dagger) which is rich in


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symbols and meanings, the traditional technique topreserve traditional material culture, and localwisdom.

The keris or kris, has many criteria as culturalheritage, such as: (1) a weapon as a cultural artifactwith all its symbols and meanings; (2) spreadthroughout Indonesia; (3) has a deep cultural andphilosophical meaning; (4) a work of art; (5) a statussymbol, representing dignity and bravery, and alsorepresents hope for the owner; (6) a product of localwisdom technology and technological developmentin terms of its metallurgic development.

Data on the keris are abundant. The keris has beenadopted also by many communities outsideIndonesia. Although many other people outsideIndonesia acknowledged to have the keris in theirculture, the Javanese keris is considered to have anolder historical origin.

* In Javanese literature, “Wayang” is also knownas “Wayang Purwa”. The following is a quotation fromLordly Shades: Wayang Purwa Indonesia: “…WayangPurwa is a form of theatre. It is ancient, for it originated inthe days of primitive man; it is very beautiful, both to earand eye, and it has a spell-binding effect upon millions ofIndonesians. Wayang Purwa is a mine of the ethicalteaching inherent in Indonesian culture, and it is a mediumof communication capable of acting as an agent of changein the fast-changing world of modern Indonesia… Theword wayang means shadow, while purwa means ancient.Wayang Purwa is a shadow show for which the ancientRamayana and Mahabharata stories form the repertoire.The shadows are cast on a white screen by flat leatherpuppets (Wayang Kulit Purwa, ed.) that are stiffened byhorn handles and manipulated by a puppeteer, who is calledthe dalang… Wayang Purwa grew out of the ancestorworship of primitive man and the calling up of ancestralspirits to advise their descendant how to solve the problemsof life. The shadows of Wayang Purwa that flicker on thescreen make the puppets come alive, while the voice, themusic and knocking sounds from behind the screen canconjure up an eerie effect as the gods and men of thewayang plays fight to overcome trickery and evil-doing…Some of the other kinds of wayang include Wayang Gedog,which, with puppets similar to those of Wayang Purwa,has a repertoire of legends from East Java, Wayang Suluhand Wayang Wahyu, which use modern texts, the first forthe purpose of government information services and thesecond for religious purposes among Catholics; WayangGolek, with its three-dimension wooden puppets wearingreal clothes, which is not a shadow play at all and which

IRAN

Ms. Fatemeh FarahaniAcademic Member and Director of the De-partment of Culture,Iranian National Commission for UNESCO

Theme: Safeguarding of the Intangible

Cultural Heritage in Iran

Introduction

Iran is a vast country with a rich, diverse and deeplyrooted oral and traditional culture. Despite apparentdifferences between sub- cultures of the ethnic andminority groups, traditional communities, and eth-nographic regions, all are branches of same ancienttree nourishing from a single root. Examples of Ira-nian fables and mythology are recorded during Zo-roastrian era and centuries before Zoroaster. Com-mon beliefs, rites, traditions and tales are reflectedin books in form of prose or verse. Ferdowsi’sShahnameh or Epic of Kings, The History of Balami,Vis and Ramin, The History of Beyhaqi, Nezami’sQuintets and Saadi’s Gulistan and Boostan and areoutstanding examples. Many Iranian folklore sourceshave been translated by Iranian scholars into Arabic.The first folk songs and poems in Persian languagewere composed during seventh-ninth centuryA.D.and 300 years ago Jamal Khonsari was the firstIranian scholar who collected folklore beliefs aboutIranian women in a book entitled Mother Kolsoomor Women’s Beliefs.

With the beginning of contacts with the West andtravel of Iranian students to Europe for higher edu-cation or travel of ordinary citizens for excursion inthe eighteenth and nineteenth century, westerniza-tion became predominant in Iran. Two approacheshave emerged, one impressed with and fascinated by

is very popular in West Java; and Wayang Wong, or WayangOrang as it is also called, with live actors and actresses.There are still many more kinds and varieties, some of anexperimental character … Wayang Purwa, however, is stillby far the most popular of all these forms. The flat puppetsmade of parchment, tooled and perforated, painted andgilded, and with beautifully-polished horn supports andhandles, are works of art in themselves….”, quoted fromPandam Guritno, Haryono Guritno, Teguh S. Djamal,Molly Bondan, Lordly Shades: Wayang Purwa Indonesia(Jakarta: 1984), pp. 7-8.


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the advanced western culture and modern way of lifenot only underrated the customs and rites but alsoeven ridiculed them under the pretext that they wereoutdated and obsolete. Second approach exaggeratedoral culture to the brink of nostalgia, has convertedit into tourist attractions and excessive commercial-ization. Both groups have left their negative impacts.This encouraged a number of intellectuals and writ-ers devoted to Iranian culture and heritage to launchnew approach towards safeguarding the traditionalculture. Research and archival activities of the oralculture and folklore dates back to the eighty yearsago. Thanks to incessant efforts of Sadeq Hedayat,the famous Iranian novelist the cultural departmentsand organizations were incited to pay more attentionto the oral culture. It was after publication of his booksthat the first Museum of Anthropology establishedand collecting Iranian traditional cultures folkloresstarted. The objective of Folk Culture programmestarted some 40 years ago by the Iran Radio Broad-casting was to launch an intellectual and collectivecampaign not only for the writers and scholars, butalso for the whole community to collect their richoral expression. About three thousand volunteerscooperated with this Programme. The results were arich archive of oral culture and establishing the De-partment of popular Cultures and publication of manybooks. During past decades numerous academic re-searches have been carried about Iranian traditionaland oral cultures, mostly on folklore. Although themethod of such researches are more or less accept-able, ethnological and anthropological studies havebeen treated as historical phenomenon detached frompresent age and some researchers have paid little at-tention to the central role of traditional and oral cul-tures as source of cultural identity. Fortunately, mostrecently we are witnessing two positive trends: Acomprehensive approach which includes both tan-gible and intangible aspects in the programmes andprojects regarding the cultural heritage, and payingattention to the all aspects of the intangible culturalheritage. Here is a brief report on the activities takenfor the safeguarding of the intangible cultural heri-tage during past three years in Iran.

1. Management and InventoryAt present there is no central body to coordinate theactivities and to collect data in regard of the intangibleheritage, and this task is shared by variousorganizations and institutions. Although the IranianCultural Heritage Organization (ICHO) is charged

with the preservation of the tangible and intangibleheritage.

Anthropology Research Center (ARC) of the IranianCultural Heritage Organization (ICHO) with itsdifferent Groups: Social Ethnology, EcologicalEthnology, Ritual ethnology and Traditional artscarried out various researches on subject and haveso far published more than 40 books covering popularculture, folktales, Atlas of Iranian traditional Dress,Traditional Cuisines, Traditional Knowledge,Traditional games and plays, traditional music, ritualsetc. Drawing the cultural and ethnographical Atlasand producing a Soft ware for gathering andorganizing the ethnographic data is also started byARC. Dialect Research Center of the ICHO isengaged in the safeguarding Iranian languages andDialects, which many of them are in danger ofdisappearing. Atlas of Iranian Dialects has beenpublished and establishing data bank on the “IranianLanguages and dialects and producing Software forlisting and documenting of phonetic symbols ofIranian languages and dialects are in the process.

Several institutions and professional bodies are alsoactively identifying and documenting differentdomains of the intangible heritage, namely theAcademy of Persian language and literature and manyuniversities (Research and inventory making aboutIranian languages and Dialects, Myths, Literature),Department of Folklore of the Research Center ofIran broadcasting, Center for Performing Arts (folkand traditional performing arts) National MusicCenter (traditional and folk music) and someinstitutions for traditional medicine. In addition manyvaluable and noteworthy researches have beenconducted by the individuals initiatives and someactive NGOs in the field of the intangible culturalheritage.

In 2003 the Iranian National Committee of Intangibleheritage has been established in order to coordinatethe activities of the different institutions andorganizations working in the field of the intangibleheritage, to draft a comprehensive strategy foridentification, documentation, safeguarding andpromotion, to study adequate legal protection andtechnical aspect, intellectual property aspect of theprotection of the traditional culture and system forofficial recognition, and to investigate candidate filefor Proclamation of Masterpieces of the Oral andIntangible Heritage. This Committee consists of


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experts and professionals in the different fields ofthe intangible heritage and the representatives of thevarious related Governmental Organizations.

2. Raising AwarenessRaising awareness campaign mostly is focused onthe organization of seminars, congress, lectures,festivals, courses and crafts workshops, prizes andincentives, film and audio- visual shows. Followingsdeserve to be mentioned, Olive Festival, CulturalFestivals, Iranian food Festival, Rural Festival, RitualArts Festival, Traditional Games and Plays Seminar,Festival on Ritual Music, International Festival onPuppet, Tourism Exhibition and Handicrafts Fair. Butother measures also have been taken:

• Celebrating the anniversary of eminentpersonalities who made valuable contribution tothe safeguarding of the intangible heritage. Forexample 100 death of Sadegh Hedayat thefounder of the research on Iranian Folklore wascelebrated this year

• Honoring creators, Bearers, transmitters of oralcultures and specialists of the traditionalknowledge and know how with prizes andcertificates,

• Publication of new periodicals specific to theIntangible Heritage.

• Publication of the many articles about the subjectmainly on the literature, music, performing artsand linguistic research in the newspapers andperiodicals.

• Training courses for transmission of the traditionalcultural expressions such as traditionalperforming arts, traditional music, traditionalknow-how

3. Legal instruments

There are some legal provisions and mechanismswhich would give official recognition and legalprotection to person possess exceptional artistry andtraditional knowledge and skills and folkloreinformant in order to encourage the transmission ofsuch talents and know how to the younger generationas a mean of safeguarding the intangible heritage.But these Systems need to be revised and developed.Recently the UNESCO Convention for theSafeguarding of the Intangible Cultural Heritage hasbeen translated into Persian Language. This versionwill be presented to Government to be submitted tothe Parliament for ratification. This is a significantstep towards setting up of national legislation that is

very important in achieving more effective protectionof the Intangible heritage. In addition, it is plannedto hold a National Expert Meeting to investigate thelegal aspects of the intangible cultural heritage forthis year.

4. EducationSome aspects of Intangible Heritage have alreadybeen included in the formal and out of schoolcurricula such as literature, poetry, storytelling,performing arts, music, and the traditional knowledgeand know how. Considering the education, bothformal and informal, as the essential mean forawareness raising, in particular among children andYouth, recently discussion about the feasibility ofincluding the local and traditional culture in thetextbooks has been started at the Department of theEducational Planning of the Ministry of Education.

5. Ongoing activitiesTwo programmes will be mentioned here, both arecoordinating by the Department of Culture of theIranian National Commission for UNESCO:

A)Organization of the Sub regional TrainingWorkshop on the Role of Women in Safeguardingand Transmission of the Intangible CulturalHeritage, which will be held in Tehran, 26-30April 2004. The aim of the Workshop is to discussthe role of women in the intergenerationaltransmission of the of intangible cultural heritage:knowledge and practices specific to women andwomen’s social organization in which thisknowledge and practices are expressed andtransmitted; Interrelationship between women’srole in the transmission of intangible culturalheritage and other spheres of culture and society,and in the national development process; Womenmobilizing cultural resources, methods andmeans of enhancing women’s role and future planfor the sub regional cooperation, networking andthe establishment of UNESCO Chair. Tenfollowings countries have been invited:Afghanistan, Armenia, Azerbaijan, Georgia,Kazakhstan, Kyrgyzstan, Pakistan, Tajikistan,Turkmenistan, and Uzbekistan. ExceptTurkmenistan, and Uzbekistan, all other countrieshave nominated their representatives to attend theWorkshop.


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B) Community based Cultural and Eco-tourismDevelopment Project in Masouleh. Since 2001UNESCO launched a new International Projectfor Development of the Cultural and Eco-tourismtourism Development in the MountainousRegions of Central Asia and Himalayas. Theobjective of this interdisciplinary project is topromote community based cultural and eco-tourism with specific focus on povertyeradication, reduction of rural- urban migration,job creation, and preservation of cultural andnatural heritage. Eight countries including Iranare participating in this Project by selecting onemountainous region or village. We selectedMasouleh*, one of the most outstanding Culturaland Natural Sites of Iran. The Project of theCommunity based Cultural and Eco-tourismDevelopment in Masouleh started in June 2003,although its operational activities began in theAugust 2003, due to the necessity of coordinatedplanning at national, provincial and local.

The work plan for 2003 mostly focused on thetangible heritage, means preservation the natural andarchitectural heritage; cleaning up campaign,infrastructure building, although the intangible aspectwas not neglected. For example establishingMasouleh Anthropology Museum displaying over700 classified objects collected in a period of morethan 20 years by a private collector, establishingTraditional Carpentry Workshop producing woodendoor, window, balcony, according to the traditionaldesigns to be used in restoration and construction ofthe buildings in order to encourage local communityto use of traditional and local materials and stylesand signs and also safeguarding the know how andtransmit them to the younger generation. Althoughthe objective of the Project is not to encourage themass tourism which can bring both advantage anddisadvantage to traditional cultures and its carriers,but in order to avoid negative aspects it was decidedto focus on sensibilisation, education and informationboth tourists and local community. Therefore, priorityaction of the 2004 Work plan would be identifying,inventory making, and promoting Intangible Heritagebased on a participatory approach. Followings aresome examples:

• Organization of the Cultural Festival onTraditional Cuisine, Music and Handicrafts inMasouleh on April 2004, including Colloquium,Fair/ Exhibition, live performances and honoring

skilled crafts-people, creators, Bearers,informants and transmitters of oral cultures withprizes and certificates,

• Draw a Code of Conduct for visitors• Launching a campaign for recording the tradi-

tions, customs and rites, tales, songs, traditionalperforming arts and traditional games and playsthrough interview with the elderly people ofMasouleh in order to make an inventory of theoral traditions and culture:

• Gathering data about the traditional cuisines ofMasouleh, encouraging local restaurants andcoffee shops to serve traditional foods as thesymbolic expression of their culture

• Investigating the ways to revive valuable formsof the cultural expression such as of story telling(Naghali) in the few existing coffee shops whichalmost lost the ground to the television andsatellite

Local population are bearers of the traditionalknowledge and producers or reproducers of thecultural forms and expressions, therefore they shouldbe involved in the process of planning, managing andselecting of the type of the traditional culture to berevitalized. In addition, experience has shown thatprohibition of oral culture performances has not onlyfailed to prevent its practice but has encouragedpeople to perform them in an exaggerated anddistorted manner. So for the implementation of theProject we are mobilizing youth and women ofMasouleh assigning them with specific tasks. In thisway, they can improve their quality of life whilestrengthening their self-esteems and identities andovercome the phenomena of hopelessness,unemployment and marginalisation.

Follow up activities of the 2003 ACCU RegionalWorkshopAs it was mentioned in the ACCU questionnaire, the2002 Workshop was very informative. It providedme with a clear idea of what the Proclamation of theMasterpieces is all about, how to prepare thecandidature files, and the importance of theinvolvement of the concerned local communities. Italso gave me a venue to exchange of ideas with theparticipants and, in particular, with resource persons.The report of the 2003 ACCU Regional Workshopsummarized and translated into Persian language anddistributed to the relevant Organizations.


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At present we are in the process of preparing neces-sary documents and file for our first candidature forthe Proclamation, a National Round table is alsoplanned for March 15, 2004 in which the objectivesof the Proclamation, selection criteria, preparationof the candidature files, preparatory assistance andaction plan will be discussed. I am very interested tolearn more about the experiences and best practicesof the countries with regard to the appropriate meth-ods for identifying, documenting and safeguardingof intangible heritage and, in particular applicationof the ICT for its safeguarding.

Meeting ExpectationWe are very grateful to ACCU for its positive andfruitful initiatives and activities during last severaldecades. The subject of this Meeting, IntangibleCultural Heritage is a new and delicate concept,which needs for more reflection and clarificationsince it deals with the roots, with the identity, and isa source of cultural diversity and means forsustainable human development. Meetings areforums for knowing, for learning from each other,for sharing and exchanging of ideas and experiences,and planning for a more fruitful cooperation in thecoming years. It depends on us to reach these goals.

* The historic town of Masouleh is located in a highlyscenic valley, surrounded by snow rich mountains inthe north, west and south, at north part Iran in westernside of Gilan province at 60 km south –west of Rashtand 35 km of west fooman. The town has 12 Kmlong and 30 Km wide, and its total area is 160,000m2.Masouleh Mountains contain quartzite, chinacrystalline, granite, lead and zinc mines.Because ofits altitude (1050m height) from sea level, it enjoysmountainous climate. The major tourism attractionsof Masouleh are its natural and cultural heritage andliving culture.

Most houses are two or three stories high, arrangedin a stair step, so that the roofs of some houses arethe yards of the others. The dwellings are situatedaround the three stories bazaar. The most importanthistoric sites and monuments of the village are 5Imamzadeh, 12 caravansarais (only one is used now)3 mosques and very old buildings with traditionalarchitecture some dates back to 500 years ago.Natural landscapes are 9 Mountains, forests andgrasslands, Summer Quarters 3 Springs and 5

Reservoirs, 3 Rivers, Boozkhaneh Cave andMasouleh Park

Native language of people Masouleh is Taleshi andits population is 769 in fall and winter and around1500 in spring and summer.

The main products of town are handicrafts such asgelims (rugs made of goat’s hair). Jajims (fine carpets.Made of wool or cotton), socks, traditional dress,shoes called Chamush, and Dairy like cheese, butter,honey, milk and special cookies named (agardak) andalso walnut and hazelnut

The town has been registered in the List of NationalCultural and Natural Heritage. At present it has aclinic Center, Cultural Center, Library, two hotels,two governmental guesthouses, few traditionalrestaurants, and around 40 Home stays and fewtraditional coffee shops and newly establishedMuseum.


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JAPAN

Part I:Mr. Higuchi KazuhiroSpecialist for Cultural propertiesBunkacho (Agency for Cultural Affairs)

Part II:Mr. Miyata ShigeyukiHead of Folk Performing Arts SectionDepartment of Performing Arts,National Research Institute for CulturalProperties, Tokyo

Part �� :

Ningyo Joruri Bunraku (proclaimed as a

Masterpiece in November 2003)

(1) Why and How Ningyo Joruri Bunraku was chosenfor cultural heritage candidature from Japan

Selection ProcessIn Japan, under the Law for the Protection of CulturalProperties, the preservation of especially vitalintangible cultural properties is sealed with theirdesignation as either “Important Intangible CulturalProperties,” or “Important Intangible Folk-CulturalProperties” as the case may be. The designation ofsuch intangible cultural heritage in Japan is based onreports/discussions undergone by the Subdivision onCultural Properties within the Council for CulturalAffairs (formally called the Council for the Protectionof Cultural properties).

In the first round of recommendations, the Councilfor Cultural Affairs considered it appropriate toselected a candidate from a list of ImportantIntangible Cultural Properties or Important IntangibleFolk-Cultural Properties. As a result, the traditionalperforming art typical to Japan, Nohgaku, wasrecommended, while Ningyo Joruri Bunraku andKabuki both made the tentative list.Upon the second round of recommendations, theSubdivision on Cultural Properties decided torecommend one of the two selections listed in theprior recommendation for temporary candidacy—Ningyo Joruri Bunraku or Kabuki. The final decisionwas to continue to keep Kabuki on the temporarylist and to prioritize recommendation of NingyoJoruri Bunraku, the reason being that the lattercomparably retains its original form to this day.

(2) The difficulties faced during the selection ofcandidature

It was decided that from the temporary candidacylist for the First Proclamation of Masterpieces, acandidate selection would be made for the SecondProclamation of Masterpieces. However, since boththe Ningyo Joruri Bunraku and Kabuki arts originatedin the 17th Century, prioritization based on historicalbackground proved challenging.After considerable deliberation by experts of theSubdivision on Cultural Properties, Ningyo JoruriBunraku was selected for recommendation from thestandpoint that it has maintained much of it originalart form.

(3) Current situation regarding the implementationof the Action Plan

Although Japan had not drawn up a five-year planfor the preservation of Ningyo Joruri Bunraku perse, with the principle of the Law for the Protectionof Cultural Properties, the art was designated as anImportant Intangible Cultural Property in year 29 ofthe Showa Era (1954). Japan recognizes holders ofthe art and has taken appropriate conservationmeasures therein.

Examples of actions taken: Fiscal Year 2003• Grants for holders of Important Intangible Cultural

Properties (Total of 5 persons; two million yeneach)

• State subsidies for performer training programs andsimilar projects (subsidy amount: 55-million yen)

• Training programs for successors of traditionalperforming arts by the Japan Arts Council

(Training completed by 38 persons through fiscalyears 1972 – 2003)

• Performances at the National Theatre, NationalBunraku Theatre, and other facilities

(125 performances at the National Theatre; 230performances at the National Bunraku Theatre;Total of 355 performances)

• The recording/documentation of performancestaken place at the National Theatre and NationalBunraku Theatre (per performance)

• Bunraku performances in provincial areas fundedby the Japan Arts Council (national tours in March,October); (30-million yen)

N.B.: The Japan Arts Council is an independentadministrative corporation established for the purpose


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of preserving and promoting traditional arts.(Originally known as Special Corporation, TheNational Theatre)

(4) Other heritage that was considered for candidature

Since candidature was decided upon from thetemporary candidacy list, this time, the only otherrecommendation possibility was Kabuki.

2. The impact of the Proclamation; actualexamples

(1) For Japan, since it already had its ownconservation system for intangible culturalheritage, UNESCO’s system of “Proclamation ofMasterpieces” for intangible cultural heritage wasnaturally embraced.

(2) With the recognition given this time and last toNohgaku and Ningyo Joruri Bunraku by the“Proclamation of Masterpieces of the Oral andIntangible Heritage of Humanity” of aninternational body such as UNESCO, all thoseinvolved in these arts feel deeply honored. Thishonor is underlined by the understanding thatthese arts have not only been domesticallyapplauded, but also comes with high worldwideappreciation.

(3) Preserving organizations of Nohgaku—NihonNohgaku-Kai and the Association for JapaneseNoh plays—were overjoyed with the FirstProclamation and saw it opportune to schedulenew performing plans in more rural areas of thecountry, where local children and residents wereless familiar with Bunraku. Furthermore, inaddition to the conventional promotion measures,the Agency for Cultural Affairs included fundingfor the nationwide tour in its budget as of fiscal2002.Those involved with the Ningyo Joruri Bunrakupreservation groups, Joruri Buraku-za, and theBunraku Kyokai are all pleased [with thedesignation], and it seems they are contemplatingperformances similar to those of Bunraku Kyokai.

(4) Upon Nohgaku receiving acclaim as a masterpieceat the First Proclamation, a gathering was held to“Celebrate the Proclamation of ‘Nohgaku’ in the‘Proclamation of Masterpieces of the Oral andIntangible Heritage of Humanity’ by UNESCO.”

And in an effort to publicize Ningyo JoruriBunraku’s recognition as an Intangible HeritageMasterpiece as well, the relevant groups NingyoJoruri Bunraku-za and Bunraku Kyokai held aperformance in Osaka, the home city of the art.Consulates of various nations based in Osaka, aswell as officials from the Japanese governmentand members of the media were invited to theperformance given on January 29 this year. Atthe venue, the Director of the Agency of CulturalAffairs gave a word of greet ings, anddistinguished guests from numerous fields bothcongratulated and celebrated Ningyo JoruriBunraku’s proclamation as a “Masterpiece.”

(5) Furthermore, at the National Theatre and NationalBunraku Theatre—both run by the Japan ArtsC o u n c i l — i m m e d i a t e l y f o l l o w i n g t h eProclamation and continuing to this day,performance programs/pamphlets containexplanatory text on the recent proclamation. Suchactive efforts to promote an understanding of theevent are being taken.

(6) In Japan, the “Proclamation of Masterpieces ofthe Oral and Intangible Heritage of Humanity” isseen as a system similar to that of World Heritage.Hence, following the Proclamation, mediacoverage of Nohgaku and Ningyo Joruri Bunrakuhas heightened.

(7) The acclaim of Nohgaku and Ningyo JoruriBunraku as “Masterpieces” prompted thoseinvolved in other domestic Intangible Heritagearts to take action. Potential recognition of theirown “Intangible Heritage as a Masterpiece” hasapparently enticed deliberations and venturesaiming for that goal, and has led to Japan’sgrowing interest in the [UNESCO] system.

Part �� :A case study of the preservation of folkperforming arts in Japan “Ayako-Mai”

Within Intangible Cultural Properties, FolkPerforming Arts that are deeply related to the societalstructure of its origins and which are passed downthe generations within the realm of religious faithsor customs, are greatly affected by changes in modernsociety and economy. It can therefore be assumedthat these changes in Japan over the past hundredyears has gravely challenged such word-of-mouth


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folk performing arts, many of which having a historygoing back further than this century.

It has been approximately fifty years since folkperforming arts have been recognized as nationalImportant Intangible Cultural Properties, alongsidehistorical buildings, sites and handicrafts, but[societal] changes then were not as serious as in morerecent years. Under these circumstances, individuals,local governments [home to the performing art], thenational government, scholars and the like, havemade various cooperative efforts to ensure that vitalfolk performing arts handed down from our ancestorscontinue to be carried on to posterity.

From such efforts, I would like to present today thefolk performing art of “Ayako-mai” as a case studyfrom Kashiwazaki-shi, Niigata Prefecture, the resultsattained from its preservation process and significantpoints which should be noted.

Brief Outline of Ayako-MaiAyako-mai is a folk performing art originating in theregions of Takanda and Shimono, both in Onadaniof Kashiwazaki-shi, Niigata Prefecture. It is aperformance dedicated during the festival (15 Sept.)held at Kurohime Shrine in Onadani, and consists ofthree parts: Kouta-mai by female performers,Hayashi-mai and Kyogen by male performers.

Details such as the choreography and costumes forthe dances, the lyrics for each song and Hayashiunconventionally unaccompanied by Shamisen,closely resemble the dances in Onna-Kabuki (modelto modern Kabuki), which was very popular about400 years ago, and the Kyogen also includes someperformances from Wakashu-Kabuki (Kabukiperformed only by young boys). [With thisbackground] Ayako-mai was seen as an importantperforming art vital in the preservation of Kabuki inits early contemporary form. In 1970, Ayako-maiwas selected as an “intangible cultural property forwhich recording/documentation measures should beimplemented.” Moreover, in 1976, Ayako-mai wasdesignated as a national “Important Intangible FolkPerforming Art.”

Opportunity for the preservation of Ayako-MaiThroughout the Nineteenth Century, Ayako-mai wasso popular that performances were seen not only inthe old capital of Edo, but performers toured other

regions. It is also said that there were more villagesthan the presently existing two, which could perform[Ayako-mai]. By the end of the Nineteenth Century,however, Ayako-mai in areas other than Takanda andShimono ceased to exist, and even in these twovillages, the number of performers themselves beganto decline.

The turning point for this situation came in 1950,when a folk performing arts scholar from Tokyo(Yasuji Honda) conducted field research. A numberof field researches had already taken place since the1930s by scholars from other areas of the nation, butthe idea of regarding such folk performing arts ascultural heritage had not matured at the time. Alsowith a period of war shortly afterwards, these priorresearches had little effect on the local area. But theresearch of 1950 was the first of its kind investingthe thought of preserving intangible culturalproperties. As the research also came immediatelyafter the enacting of legislature to preserve culturalproperties, the study was extremely significant initself. From this point on, local residents were enticedto consciously aim for and take action in thepreservation of Ayako-mai, and wherein the firstpreservation group was established.

Furthermore, Honda established in his research ofAyako-mai’s great academic value. In order topromote understanding of this by a vast number ofpeople, he cited the value of Ayako-mai in the SecondFolk Performing Arts Festival hosted by the [then]Ministry of Education, Science, Sports and Culturethe following year in 1951. As a result, many scholarsand dancers went to visit the home of Ayako-mai,enhancing the zealousness of the local residents. Andin 1952, Ayako-mai was designated by NiigataPrefecture (National recognition had not yet begun)as an Intangible Cultural Property.

The turn of events can be summarized as follows: † In the case where the true value of an art is notfully appreciated by the place of its origin, a surge ofenthusiasm and interest is ignited when an outsidescholar enlightens the public of the folk performingart’s significance.

† In addition, by performing for a vast audience inother areas of the nation, especially in the capital city,and promoting public understanding of the art, localresidents feel a strengthened sense of confidence andenthusiasm.


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In the case of Ayako-mai, matters moved on apositive note throughout. However, the followingshould be noted for more general circumstances: † The scholar doing the field research must respect

that particular subject topic, and must be able toevaluate it objectively. In no way must he/shesubmit to a subjective evaluation that might harmthe region in any way.

† When performing in other areas, casting shouldbe handled by a person well versed in the art, andan effort should be made to bring the art in itsauthentic state directly to the audience.

Ayako-Mai and the Local Government(s)After the Second World War, the industrial structurein Japan underwent rapid change and the populationgushed from rural to urban areas. This movementspeeded up particularly with the growth of theeconomy from the 1960s, leading to the phenomenonof depopulation seen throughout the nation. Such asocial climate caused great concern in passing downoral traditions, as most folk performing art had theirroots in rural districts. On the other hand, from thelocal government’s standpoint, such a social driftallowed it to enlarge from an institution for one smallvillage into a larger community through merger witha neighboring peer; reconstruction of theadministration was now be justifiable. Suchcircumstances still continue, and still continues togreatly affect the transmission of folk performing arts.Ayako-mai was not totally unaffected by thisphenomenon either. The present Onadani inKashiwazaki-shi, is Ayako-mai’s homeland, but onlybecame the modern Onadani after it merged withthree other neighboring villages in 1889. In 1901,Onadani merged with the neighbor Orii-mura tobecome Ukawa-mura. In 1956 after the war, it thenmerged with Jyoujyou-mura and Nota-mura tobecome Kurohime-mura. At this point, the numberof villages had already dropped from 18 to 1. And in1968, Kurohime-shi was merged into Kashiwazaki-shi.

In other words, when viewing the presentKashiwazaki-shi as an overall administrative unit,Ayako-mai’s actual place of origin is only a smallpart of the city, much less the center. In such asituation, a city would most likely lose incentive/interest in preserving the art, but in the case of Ayako-mai, each of the merging villages had alwaysconsidered it to be an important oral treasure andcontinued in its preservation. During the Kurohime-

mura period, the village chief was also thechairperson of a group promoting the preservationof Ayako-mai. And once Kashiwazaki-shi wasfounded, the city continued to actively support thesame cause. In this way, Ayako-mai remains the prideof Kashiwazaki-shi citizens; this in turn is veryencouraging for the performers. Needless to say, theearnest efforts of the performers themselves havemuch to do with what led to the present state ofAyako-mai, but the understanding and activeawareness promotion projects by the localgovernment must also not be forgotten. At present,the primary facility for publicizing the art is a hallcalled, “Ayako-mai Kaikan,” and was established bythe city government in 1999, and good relationsbetween Ayako-mai preservation groups and the localgovernment ceases to continue.

In the case of Ayako-mai, it was fairly easy for thelocal government to take on an active role in itspreservation because of Ayako-mai’s comparativelymild religious affiliation. Nevertheless, for any folkperforming art to secure its successive future, it isimperative and only realistic for preservation groupsto withhold strong, cooperative relations with localauthorities. This is especially true in Japan, wherepublic funds are used in various schemes in thepromotion of a performing art, and hence the directauthority in the preservation process lies within thegovernment body.

As far as folk performing arts are concerned, theirpreservation depends on the daily involvement ofperformers and preservation groups made up by theseperformers, and the closest and most direct supportthese groups can attain is from the local government.If the two sides cannot sustain good relations withone another, then preservation activities for the artitself becomes difficult. Moreover, should relationsexist nonetheless, then a successful outcome cannotbe expected.

The Training of Successors of Ayako-MaiSince folk performing arts are cultural properties thatcan only be passed down the generations throughpeople, they risk dying out unless there areconsistently young successors. And withoutconscientious effort, especially now in an age wheredifferences between generations are gaping, aperforming art will likely tread an aging and wornout road.


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At the end of the 1950s, the number of Ayako-maiperformers is said to have been approximately 3,000.By the 1990s, that number decreased to about 500,and concerns were raised over the lack of successors.Following these concerns, the Social EducationSection of Kashiwazaki City’s Board of Educationlaunched a course from 1991 to 1999 to trainperforming art successors. A brief summary is asbelow:The First Term took place over a three-year span from1991 to 1993, funded by national subsidies. Theproject amounted to an annual four million yen(broken down to 50% state, 25% prefectural, 25%city coverage), much of which went to costumes andperformance tools/supplies, faci l i ty fees,photography/videotaping for documentation,remuneration for trainer (preservation groupinstructor) and performance expenditures. Potentialtrainees were invited from home districts of Ayako-mai and those who were born in the area but hadsince moved elsewhere, as well as those from thegeneral public, who could apply for training throughKashiwazaki City’s Public Affairs Office. Thirty-three people eventually became trainees, six of whomwere from the general public. As Ayako-mai differedslightly in program and performance depending onits origin of Takanda and Shimono villages, the 33trainees were divided into two; 20 at Takanda and 13at Shimono. They all took part in their respectivetraining course, consisting of dance, Hayashi-mai,and Kyogen. In addition, to guarantee a firmconsecutive succession of the art, particular attentionwas given to the ever improvement of instrumentaland singing performance of the Hayashi-mai. Thecourse was covered in 21 lessons per year, each lessonlasting approximately two hours. In the last and thirdyear of training in 1993, a performance by the trainingprogram participants was given in the central area ofKashiwazaki-shi.

The Second Term lasted three years between 1994and 1996, this time funded by the prefecturalsubsidies. Again, the budget for each year was fourmillion yen (50% prefecture; 50% city), and a totalof 43 trainees participated, including newcomers.The course curriculum this time was to improve skillsacquired in the First Term, as well as focusing onreviving Kyogen performances that had long beenforgotten.

The Third Term again lasted over a period of threeyears from 1997 to 1999, and was funded by national

subsidies. Efforts to increase the number of traineesand stabilize the population was enhanced. (Programfinances, etc., were the same as the First Term).It can be said that with this training course, the firstcrisis [for Ayako-mai] in 1990 was greatly resolved.Obviously, when considering folk performing arts,no one can become its successor simply byparticipating in a training course, and needless to say,even after completing any course, an individual mustsacrifice much time and effort thereon [to become aworthy performer]. Nevertheless, having a trainingprogram is highly effective in allowing individuals—who up until then had nothing to do with a performingart—have an opportunity to experience an importantperforming art firsthand, and to maybe even becomea performer.

In summary, the effects of such a performing artstraining program: † The direct outcome of securing possible successors

from younger generations † The promotion of public awareness of the arts via

program participants † In becoming an instructor, present performers are

able to see the art from a different perspective (“ToTeach is To Learn”)

† The recording/documentation (script/video), etc.,of the performing art is systemized

At the same time, to protect the original performingart from any adverse effects, the following should betaken into consideration with caution: † Even when facing amateur participants, the

performing art must not be compromised † When plural versions or types of the same

performing art exists (such as Takanda andShimono for Ayako-mai), the differences shouldbe maintained and a fusion of variations must notbe made

† Materials in passing on a performing art should bekept to a supplementary level, and word-of-mouthtraining should be the core means of transmission

ConclusionBy taking Ayako-mai as an example, I have sharedone aspect of Japan’s preservation process of folkperforming arts. Other than the ones mentioned, thereremains the problem of documentation. With theadvanced audio-visual equipment of this day and age,compiling a detailed record(s) of a performing art,its history and the performance itself has becometechnically quite simple. This is particularly true with


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Historical sources from the beginning of the secondcentury a.d., had been mentioned about the Kyrgyz,who lived from Yenisei to Altai, led nomadic lifealong Tien-Shan, Pamir, Ural. And the history ofKyrgyz is also inseparably linked with the history ofthe Great Silk Road, that passed thorough the territoryof Kyrgyz nation’s inhabitance in ancient times.

Situated on the crossroad of the Great Silk Road, thatconnected East and West, peoples, their customs andculture, the Kyrgyz also knew a multitude ofreligions: Zoroastrianism, Buddhism, Christianity,and manichaeism, Shamanism, also worshiping waterand land, that tried to settle on their land. Gradually,Islam become most widely spread, but the Kyrgyz,preserving the elements of worshiping land, water,shamanism, Buddhism, Confucianism did not enquirea religious fanaticism.

Nomadic way of life had a special impact on customs,traditions, culture and life style of Kyrgyz people.The Kyrgyz culture and art had their own way ofdevelopment, their flourishing was during theKharahanud’s region. The Kyrgyz contributed theirtalent into the people’s oral art and craftmanship asthey did not have the opportunity to createarchitectural and written masterpieces. The highculture of folklore, poetry, songs, historical epics andlegends was transmitted from generation togeneration, despite of the hardships of the historicaldevelopment. This oral heritage was dreated andenriched in close interaction with cultures of othernations.

1) Why and how certain cultural expression/spacewas selected as a candidatureThe National Commission for UNESCO selected andprepared the Kyrgyz candidature file for theproclamation of the masterpieces of oral andintangible heritage named “The art of akyn - Kyrgyzepic tellers” together with the InternationalAssociation of People’s World Epics. Headed byProfessor Mr. Beksultan Jakiev, Peoples Writer ofKyrgyzstan.

Under the pressure of mass culture and technicalglobalization, and because of the lack of financingand other means of support, the art of akyns – epictellers of Kyrgyz ancient epics is on the verge ofdisappearance.

recent digital technology, wherein recording data ofbody movements three-dimensionally is possible. Wecan expect such recordings/documentation to behighly effective tools in the passing down of folkperforming arts.

However, as in the case of Ayako-mai, where thecultural property is intangible and people are themedium of transmission, the most important factoris cooperation. Is not the cooperation of performers,scholars, government preservation officers, andprogram participants—all those involved in theperforming art—and their efforts for the bettermentof the art invaluable? Unlike the preservation oftangible cultural properties, the fundamental principalin preserving intangible cultural properties is inestablishing relations of trust and cooperation, and Ibelieve such relations should also be considered anobjective to aim for.

KYRGYZSTAN

Ms. Aziza OkeyevaSpecialist for Culture, National Commissionof the Kyrgyz Republic for UNESCO

1. The art of the Akyns - Kyrgyz epictellers of the Kyrgyz traditional oral andintangible heritage.

On behalf of Kyrgyz national authorities,International Association “World Peoples’ Eposes”and Kyrgyz National Commission for UNESCO Ihave the honor to express deep gratitude to UNESCOfor the overall assistance provided to our nomination“ The art of the Akyns-epic tellers of the Kyrgyztraditional eposes”.

Formerly nomadic, Kyrgyz people did not have apermanent, settled type of houses, that is why we donot possess architectural monuments andmonumental art in its contemporary meaning. Forseveral centuries the Kyrgyz people did not have theirwritten languages, although in the ancient, writtensources of he neighboring countries mention aboutthe ancient Kyrgyz Statehood. In their centuries-oldhistory the Kyrgyz have experienced invasion ofAlexander the Great, the Huns, Arabs, Tartar andMongolian invasions. The biggest part of this nation’shistory are the innumerable internal wars. The Kyrgyzhave experienced a period of a prosperity, Khanateunification and obscurity of a small nation.


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Initially Kyrgyzstan proposed the candidature of theKyrgyz biggest epic “Manas”. But in the course ofthe follow up work in cooperation with UNESCOwe decided to focus the nomination on safeguarding,development and studies of the art of akyns, thattoday is under the threat of vanishing.

Each epic teller has his own repertoire and knowledgeof epics and stories, that he had received orally.Moreover, alive epic performance before theaudience, by represents a theatre in one person, andevokes alive contact with the audience, and its ofemotional response.

During the performance, talented listeners (mainlytalented children and young people), in their turn,can remember the whole episodes and parts of theepic stories. This is main traditional way oftransmitting the oral heritage, in contrast to, unlikelet’s say, learning applied arts or craftsmanship andtraditional medicine.

2) The difficulties faced during selection of thecandidature.Lack of knowledge of English language and deficientunderstanding of the style, language, and wordingof the documents, provided by UNESCO havecreated certain problems in explaining to the expertsthe objectives and missions of program.

At first, experts, relevant organizations, did not showtheir interest to participate in selecting the proposedprogramme. Actuakky the fact, “Epics of the Peopleof the World” Association was the only organizationinterested in cooperation on the indicated topic.

One of the reasons of other interested persons,precaution in participating in the project was theirunderstanding of their insufficient capacities strength,enormous responsibility and the difficulty inpresenting the whole layer of culture governmentalat the very start. Nevertheless, national specialists-scientists, researchers and epic-tellers showed a greatinterest and understanding, and rendered us theirassistance to accomplish the candidature file.

In preparing the candidature file we first faced thefinancial problems: there were no funds to prepareall the required documents for nomination dossier.In this connection we addressed to UNESCO forpreparatory assistance and received financial supportfrom UNESCO.

3) Current s i tuat ion with act ion planimplementationIn the course of the preparations of the nominationdossier executors worked out a five-year action planapproved by Kyrgyz National Commission UNESCOon revival, preservation, and dissemination of akyns’art: creation of regional schools for talented children,conduction of selection contests and systematicprofessional education of young talents. Besides,many old archive photo-, cine-, and audio-documentsrelated this project have been copied and resaved onmodern recording mediums.

The Government of the Kyrgyzstan was informedabout the suggested project program, that obtainedthe title of a Masterpiece of world oral and intangibleheritage of UNESCO in the Second proclamation in2003, however, the issue of assisting in action planrealization on national level has not been consideredyet.

The reasons are hard economic situation in thecountry and absence of State body in charge ofcultural issues and eposes, specifically (there is noMinistry of Culture in Kyrgyzstan, at the present timethe Culture Department of the Ministry of Educationis being reorganized into independent NationalCommittee for culture and language).

The Kyrgyz Government and Parliament have notdeveloped and regulated yet the issues of legislationon preservation of national oral intangible heritage.The art of akyns is transmitted in the traditional way(under favorable conditions): from epic tellers to histalented follower, from masters-mentors toapprentice. But there are many cases when wellknown epic tellers possessing the unique knowledgeand skills pass away without leaving any records ortheir followers.

4) Other heritage that was considered for followup nomination1. Culture of playing on ancient Kyrgyz music

instruments.2. National rites of Kyrgyz people: birth of child,

funeral rituals – art of weeper.3. Wedding rites of people of Kyrgyzstan.4. Keeping patterns.5. Traditional games.


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Kyrgyz traditional oral creativity presents a richcultural layer of the Kyrgyz people, reflecting theirhistory, outlook, views, life style and mentality. Fromancient times the oral poetic epic heritage istransmitted from generation to generation. Thefolklore combines the deliberate and spontaneous,stable and mobile, momentary and eternal features.Kyrgyz and akyn and dastanchi is an artist possessingmany talents: poet, composer, singer, musician andactor. Moreover, he conveys the moral andphilosophic ideas of his people who entrust him withthe authorities to make wise judgements and toevaluate people’s behaviour and historical events.Therefore, each akyn (dastanchi) is highly respectedby people.

The word “akyn” is ancient and polysemantic.In Uigur, Tatar, Perisan languages it means“teacher, wise man”. In Kyrgyz language ”ak”means “pure, white”, “agyn, agym”, means“flow”, “akyn” means “poet”. All thesemeanings characterize the social status andnatue of akyn’s creativity. The impetuouseloquence of akyns fascinates their listeners andhas a great impact on public opinion.The highest level of akyns’ art is expressed in thedialogic genre whch is called “aitysh”. Aitysh isa public musical-poetic contest of two (sometimemore) akyns, including questions and quicklyimprovised witty responses in a poetic form, alivereaction of the audience.The art of akyns and dastanchis is transmittedfrom teacher to his pupil. Along with he greatvariety of individual atyles, it is based on theartistic norms practiced thorough centuries.The creativity of akyns and dastanchis is livingand ageless art possessing and expressing thegreat intellectual power. However, at present timethe situation of the traditional art is quiteproblematic. Considerably reduced the sphere ofinfluence and civic status of akyns anddastanchis. Akyns have the opportunities todemonstrate their art only at the solemnceremonies using one or two genres from theirrepertoire (mainly complimentary ones: maktoo,arnoo). The highest mission of akyns anddastanchis: social satire, sympathy with commonpeople, expression of people’s aspirations,information bearer, a link between past andfuture, interpretation of old moral values – isdisappearing at the turn of XX and XXI centuries.

Only memory of people keep the bright pagesand names of outstanding akyns of the past.

From 1996 the Kyrgyz regional departments ofculture and Ministry were closed. The cultural matterstill 2004 were deputed to the social department forculture under the Ministry of Education and Culture,therefore they were not given proper attention in thepart of the government. At present time the Ministryof Education and Culture is again in the process ofre-organization, which impedes the governmentalunits to focus on the problems of safeguarding thetraditional art.

From the times of Perestroika, in Kyrgyzstan therewere no folklore expeditions, no records, studies andpublications of the creativity of folk musicians of allgenerations.

In 1998 stopped its work the Public Association ofAkyns and Manaschys which initiated internationalcontests of kyns-improvisers from all the regions ofKyrgyzstan and the CIS neighbouring countries.Earlier Aityshs (sontests of akyns) were organizedfor representatives of the allied cultures: Kyrgyz(akyns), Kazakhs (jirau), Uzbeks (ahunds),Azerbaijans (ashugs). In the first half of the XXcentury big Central Asian Contests were organized.In our days such events actually do not take place.Along with it, there are good examples aimed atsafeguarding and developing the oral poetictraditions.

The Kyrgyz National TV–Radio Corporation:- Programme “Aitysh” – two times a month, withparticipation of akyns involving youngergeneration. As a result of the programme newnames of akyns become known: Elmirbek,Jenishbek, Sary Kashka, who came to the capitalfrom the remote rural areas;- Programme “Shoola” – once a month, directedby th ewell-known hereditary akyn ZamirbekUsenbaev (with his own participation and hispupils).

Every year are organized regional musical contests:festivals “Osh Azemi”, “Jala-Abad Tundoru” andother which envisage the nominations of akyns. Butagainst the backgraound of the variety shownominations, akyns remain in the shadow of theshow-business due to incompetence of jury.In autumn 2003, the 100-th anniversary of the famousKyrgyz akyn Kalyk Akiyev was marked in Bishkekand Jumgal (the place of his birth).


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The Kyrgyz National Conservatoire for 10 yeas ofits existence (from 1993) worked out a new systemof the educational musical fundamentals of thetraditional folk pedagogy. Thus the educational policyof the Conservatoire meets the challenges of theworld artistic practices at the turn of the XX-XXIcenturies.Musical educational institutions guided by theKyrgyz National Conservatoire organize annualfestival “Melodies of Mountains”, in whichparticipate musicians of various folk specializationsincluding young anks and manaschis.

3.Case studies of successful/on-going IntangibleHeritage promotion/preservation activities

(a). Public awareness raising (advocacy, publicity)The Kyrgyz governmental weekly publication“Kyrgyz Madaniyaty” covering the issues ofculture in the Kyrgyz language have been closedseveral years ago for financial reasons. Theillustrated journals “Kurak” (published by the ArtsCentre under the Kyrgyzstan-Soros Foundation)and “Meerim” (“Meerim” International CharityFoundation) seldom address issues of the oralpoetic heritage. Small informative articles ingeneral periodicals do not give the full analyticalpicture of the traditional oral heritage.

For the last five years (after publication of thetextbook “Kyrgyz Traditional Music Creativity”by Kyrgyz musicologists K. Dushaliev and E.Luzanova, Bishkek: Soros-KyrgyzstanFoundation – “Ilim”, 1999, in Russian language)not a single scientific work or a learning aid onthe art of akyns and dastanchis was published.The last publication on this theme in the Kyrgyzlanguage was in 1985 (essays about akyns by artresearcher B. Alagushev).

(c). Heritage management, including iventory makingThe heritage of akyns and dastanchis in the formof audio records is scattered among KyrgyzNational TV-Radio Corporation (KNTRC),National Academy of Sciences, Folklore Facultyof the Kyrgyz State Institute of Arts, KyrgyzstanUnion of Composers and some private collections.There are no new records.

“Gold stock” at the KNTRC and other stocks ofthe records are in bad state: the storage conditions

are not adequate, the tape recordings come todecay because they are 40 – 60 years old. In 2003the NGO “White Rose” re-recorded on CDs 88hours of the KNTRC “Gold stock” under the grantextended by Soros-Kyrgyzstan Foundation. Theaccess of this collection to users is not known yet.However, it is a good start towards fixation of thestock on long-term recording medium.

The National Centre for “Manas” Studies andArtistic Culture under the National Academy ofSciences has been publishing for the last five yearsa series of Kyrgyz small epics (texts).

(d). Reviving once-endangered heritage(trainingyoung performers/tradition bearers)Planned systematic work on safeguarding andrevival of the endangered heritage is actually notcarried out. There is no distinct governmentalprogramme in this field. Separate privateinitiatives are not substantial.

An exceptional example of the purposeful workin this direction is the work of the Kyrgyz NationalCommission for UNESCO jointly with theUNESCO Intangible Heritage Sector onproclamation of the Kyrgyz oral epic poeticheritage as a Masterpiece of the Oral Heritage ofHumanity (November 2003).

(e). Intangible heritage in education(formal, non-formal)There are Folklore Chairs at the Kyrgyz StateInstitute of Arts and at the Kyrgyz NationalConservatoire. But the education process isregretfully not perfect: the traditions oftransmitting the art of akyns and dastanchi froma teacher (usta) to a pupil (shakirt) aredisappearing. In remote rural areas there arecenturies-long traditions of transmitting the akynskills from father to son, from teacher to his pupil.However such cases are not identified andproperly studied.

(f). OthersAnnual Republican Festival “Young Talents” isorganized by the “Meerim” International CharityFoundation based on the work of ChildrenEducational Centres in the provinces identifyingyoung akyns and epic tellers.


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Round Table meeting “Kyrgyz Traditional Music:Problems and Perspectives” at the KyrgyzNational Conservatoire with participation oftraditional musicians, pedagogues and journalists(2002).

The preparation of the Kyrgyz nomination wasworked out according the information received in theExperts Meeting in Tokyo 2002. Association hasconducted several activities (Celebration of “Manas”epos, Celebration of Kyrgyz eposes, scientificallypractical conferences on oral heritage, contests, andmeetings with akyns-narrators ) in Universities,gymnasiums and schools of Bishkek sity; participatedin festivals 2002 and 2003 “ Boysun Bahori” held inUzbekistan; also actively participated in conductingcelebration dedicated to the 2200th year of KyrgyzStatedhood( the scenario was written by Jakiev,B.).

LAO PDR

Mr. Thongbay PhothisaneDirector and Editor, “Vannasin” –Literature & Arts magazine

GENERAL INTRODUCTION

The Lao PDR is located in the heart of theIndochinese peninsula boarded by China in the north,Vietnam in the east, Cambodia in the south, andThailand and Myanmar in the west. 4 has an area of236,800 square kilometers. Around 70% of its terrainis mountainous, reaching a maximum height of 2,820meters. The whole country enjoys a warm andtropical climate with two distinct seasons, the rainyseason from May to September and the dry seasonfrom October to April. The Mekong river flows fromthe north to the south nearly 1,900 kilometers, andhas always been a lifeline for the country in terms offish supplies, transportation routes and agriculture.

SOCIO - CULTURAL BACKGROUND

The estimated population of Lao PDR is 5 million,of whom about 90% are Theravada Buddhists.Buddhism was introduced to the country in the 14th

century by King Fa Ngum who had created LaneXang Kingdom. Buddhism is an inherent feature of

daily life and casts a strong influence on Lao cultureand society. Most Lao Buddhists try to gain “merit”for the better next life by giving donations to templesand through regular worship. The temples (Vat) areimportant places of private worship and also providemany opportunities for social gatherings. TheLaotians believe that if you do good then you willreceive good things. Almost every Lao Buddhist malebecomes a monk for a short period of time, usuallybefore he marries, and many young boys spend a longperiod as novices in temples, earning their families“merit”. Therefore Buddhism has played a vital rolein the cultural development of the country and hasgreatly influenced the thoughts and behavior of alarge percentage of the population. Lao PDR is amysterious and beautiful place inhabited by 49 ethnicminority groups. Each group has formulated itspeculiar costumes based on the diversified historicalbackground, geographic situations and lifestyle.Unique in style with primitive simplicity andsurpassing beauty, they present a series of multi-cultures with different aesthetic standards.

As in other countries, indigenous wisdom hasdeveloped from the olden days up to modern times.Indigenous wisdom is present in all activities suchas culture, tradition, people’s daily life, etc.Indigenous wisdom is also developed in Lao literaryepics written on palm leaves. All this wisdomeducates people to be kind and gentle, and showgratitude to others. Gratitude is the loving kindnessand respect given to elder persons. It is also the bestpractice to return good deeds to the older generationand to each other. Lao people have considered it themost important attitude for their daily lives sinceancient times. Gratitude is the expression of respectand salutations to the advice of the older generation;elders, parents, professors, teachers and leaders.These are the best moral characteristics of Lao people.These respects and salutations are reflected asfollows: children love their parents, students lovetheir teachers, citizens love the nation. To showgratitude is the first duty of a Lao generation. To paygratitude to good people is the highest priority in thekind hearts of Lao people since early times. Thereare so many important wise Lao sayings aboutgratitude, for example:

“Follow the elders, and you will be not killed by theghost”

“The children who do not obey to their parents, theghost will send them to the hell”


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“When eating rice, do not forget the value of the ricefields”

“When eating fish, do not forget the value of thefishing nets”

“To get the fish, do not forget the fishing net”“To go ahead, do not forget to look back”

To perform the traditional rites, the advice of leadersand parents should be followed. Lao people believethat to follow the trail of the grandfather, the sonreplaces the father. This is the aim for following thebest customs and traditions as well as to develop theculture and knowledge of their ancestors. These areconsidered as good gratitude.

When tradition is abandoned, life becomes sad. Ifrules are not followed, life also becomes dark. Thesewords express the violation of gratitude and rules.The most dangerous mistakes of the new generationtoday are the violation of traditions and rules.

TWELVE TRADITIONS OF LAO CULTURE

The Lao people have had habits of celebrating 12traditions in a year and respecting 14 traditionalregulations. A variety of festivals and religiousceremonies are observed throughout the whole year.The twelve traditions are presented from January toDecember. The most important ones are listed below:

January:Boun Khoun Khao: Harvest festival in villages. Aceremony is performed giving thanks to the spirit ofthe land.

February:Vat Phou (Champassak) festival: On the full moonof the third lunar month. The festivities includeelephant races, water buffalo fighting, cock fightingand many traditional performances.

Boun Khao Chi: A ceremony held at the temple inthe morning, when a special “bread made of stickyrice” is offered.

March:Boun Pha Vet: Commemorates King Vessanthara’sreincarnation as the Buddha.

April:Lao New Year is celebrated in mid-April. On the firstday of the festival, Buddha images are taken out of

the temples to be cleaned with scented water. Thewater which drops from the Buddha images iscollected and taken home in order to pour it on friendsand relatives as an act of cleaning and purification.On the evening of the final day, the Buddha imagesare returned to their proper shrines. Specially, inLouang Prabang the festival also features a beautycontest with the crowning of “Nang Sang Khane”.

May:Boun Visakhabousa: Celebrates the day of Buddha’sbirth, enlightenment and passing away. It is a time topay one’s respects to ancestors with chantingsermons, and candlelit processions at night.

Boun Banfai: The rocket festival is held at thebeginning of the rainy season. The festival is a callfor rain and a celebration of fertility. In the morninga religious ceremony is performed. In the afternoon,people gather in a field outside of the village to launchhand-made firework rockets. Around the middle ofMay the rocket festivals are staggered from place toplace in Laos to enable greater participation andattendance.

June:This is the time when an offering to the spirits can bemade in a corner of one’s garden near the house or inthe rice field.

July:Boun Khaophansa: The beginning of Buddhist lent.During the next three-month period, monks spendmost of their time in prayer and meditation and arerestricted from spending nights in other temples thantheir own.

August:Boun Khaopadubdin: The observation of a practiceof making offerings to the dead.

September:Boun Khaosalak: This event is for offerings to bemade for the dead, to share merit with them.

October:Boun Ok Phansa: This marks the end of the monks’three month-fast and retreat during the rainy season.At dawn, donations and offerings are made at thetemples. Prayers are chanted by the monks, and atdusk candlelight processions wind round the temples.Concurrently, hundreds of decorated candlelit floats,


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made of paper, are set adrift in the river. These carryofferings and incense, transforming the river into afragrant snake of sparkling lights. This ceremonialpart is called “Boun Lai Heuafai”. The biggest eventof the Ok Phansa is the boat racing festival, which isheld the day after Ok Phansa. Crowds gather at theMekong River to watch 45 members’ teams rowingwooden pirogues to the beat of drums in competitionfor the coveted trophy.

November:Boun Thatlouang: This is a three-day religiousfestival celebrated at full moon in November. Itbegins with a pre-dawn gathering of tens of thousandsof pilgrims at Thatlouang who listen to prayers andsermons chanted by hundreds of monks representingall the Lao temples. During the following days thefair is held nearby.

MALAYSIA

1. Case studies of successful/on-going IntangibleHeritage promotion/preservation activities, ifany, on the following topics.

a) Raising Public Awareness (advocacy, publicity)

Public awareness programmes to introduce andpromote intangible heritage has been carried out inMalaysia in many ways for example throughpromotion and preservation activities,publicity andpublic awareness programmes in printed media andelectronic and so on.

i) Promotion and Preservation Activities

A lot of publicities through electronic and printedmedia has been carried out during the promotion andpreservation activities such as “Citra Budaya”- acultural activity organized by Cultural PromotionDivision , Ministry of Culture , Arts and Tourismwhereby Traditional Performing Arts performancesas such as Mak Yong, Wayang Kulit, Dabus and other

Ms. Noorsiah SabriDirector, National Arts Academy,Dr. Norov UrtnasanMinistry of Culture, Artsand Tourism

traditional performing arts performances representingfourteen states of Malaysia and certain Non -Governmental Organisations were carried out foralmost one week in Malaysia’s state capital, KualaLumpur.

During this period of Citra Budaya, spectators andaudiences from all over Malaysia and tourists wereexpected to get a closer look and appreciate theseintangible heritage in more detail.

ii) Publication of Brochures, Books , Tapes andCD of Traditional Performing Art

Books, brochures, tapes and CD on traditionalperforming arts are being produced and distributedto the public such as school children, students ofinstitute of higher learning and many others.

iii) TV Programmes On Traditional PerformingArts

Documentary series on traditional performing artsof Malaysia such as Mak Yong , Wayang Kulit,Hadrah and others were being screened over nationaltelevision of Malaysia ,RTM. The public from allwalks of life were surely benefits from thisprogramme. This is one of the ways to createawareness among the publics on intangible culturalheritage.

b) Drafting national legal instruments for ratifi-cation of the Convention for the Safeguardingof the Intangible Cultural Heritage (arguments/justifications)

The government of Malaysia through the Departmentof Museum and Antiquity, Ministry of Culture, Artsand Tourism is in the process of drafting the “CulturalProperties Act” which will cover terms andreferences on safeguarding cultural heritage .

c) Heritage management, including inventorymaking

i) The administrative mechanism for safeguardingintangible heritage through:

• The National Cultural Policy. The ultimate objec-tive of the National Cultural Policy is to promoteand preserve the traditional arts.

• The main function of the Ministry of Culture, Artsand Tourism Malaysia through the different divi-


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sion of MOCAT are to preserve and promote thetraditional performing arts.

ii) Inventory MakingInventory making or directory of intangibleheritage are being carried out by the CultureResearch and Preservation Section and allfourteen cultural states offices in Malaysia. Allcultural states offices collected their culturalintangible heritage inventories. Cultural Researchand Preservation Section, Cultural Division ofMinistry of Culture, Arts and Tourism on the otherhand formulated the cultural map of TraditionalPerforming Arts and National Inventory OfTraditional Performing Arts.

d) Reviving Once-Endangered heritage (trainingyoung performers/tradition bearers)

Successful intangible heritage promotion andpreservation in 14 states of Malaysia are being carriedout through:

Human Resource and Trainingi. The practitioners are the member of the Mak Yong

group (one of the successful intangible heritagegroup) with an average of 15 years old experi-ence in the said traditional theatre. They consistof the directors, actors, dancers, musicians andperformance props expertise.

ii. The practitioners shall provide training for a groupof youth under an apprenticeship program that isorganised simultaneously with the project.

Implementationi. Components of the Project• Performances – the practitioners shall perform the

traditional theatre to the public bases on a mutu-ally agreed schedule.

ii. Workshop• The practitioners shall become the speakers or

moderators for the workshops that are intended topromote the arts.

iii. Apprentice Programme• The practitioners shall become the teachers for a

group of the youth. The apprentice shall recite arepertoire at the end of the programme as testi-mony for their capability to perform the arts.

e) Intangible Heritage In Education (formal, non-formal)i. Formally, education wise , the government of Ma-

laysia through the Ministry of Culture, Arts andTourism established National Arts Academy orAkademi Seni Kebangsaan (ASK). It is hoped thatby providing formal and structured education inthe arts will ensure further development of cul-tural. This professional and intellectual approachtaken by the academy will assist the effort to pre-serve the national heritage and raise the perform-ing arts to a higher level. ASK offers educationthat emphasises traditional performing arts suchas Bangsawan, Mak Yong and Wayang Kulit. Allfull-time students are required to pass this intan-gible heritage academic core module in order tograduate with diploma level.

ii. Non-formal education is being carried out in situor in the village. Hereby, the students will be ableto learn the technique of the traditional perform-ing art from the original practitioners themselves.

f) Other Examples Related To Safeguarding ofIntangible Heritage

Living Human Treasures Programme and NationalArts Award on Intangible Cultural Heritage wereimplemented in Malaysia.These programmes wereintroduced to acknowledge the good works ofintangible heritage practitioners and to ensure thesurvival and continuity of intangible heritage to thepresent generation.

2. Follow-up activities of the 2002 RegionalWorkshop for Cultural Personnel in Asia andthe Pacific on Promotion of the “Proclamationof Masterpieces of the Oral and IntangibleHeritage of Humanity” (Tokyo, Japan, March2002)

i. A task force or a committee comprising of repre-sentatives of National Arts Academy, Research andPreservation Section and Cultural Policy Division, representatives from NGO and an expert fromlocal university was formed to discuss and pre-pare the candidatuer file entitles Mak Yong: TheMagical Dance Theatre of Malaysia.

ii. The activities towards preservation and promo-tion of intangible heritage in all 14 states of Ma-laysia were carried out continously

iii. Traditional cultural performances promotion over-seas.

iv. Training of personnel – training of personnelspecialising in collecting, archiving and documen-


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nomadic animal husbandry and livestock herding life.All aspects of the Morin Khuur is associated withhorse – beginning most evidently with the name ofthe instrument as horse fiddle, but including as wellall aspects of its construction and technology. Thestrings of the Morin Khuur are made from hairsbelonging to the tail of a fine horse while the top ofthe instrument’s neck is decorated with the carvedhead of a horse. In addition, Morin Khuur hasdeveloped over the centuries a repertoire of solomusic representing the ambling, galloping and soonof the horse.

• Traditional music of the Morin Khuur is recog-nized as part of intangible cultural heritage ofMongolian nation and communities.

The Morin Khuur embraces an aggregate of alltraditional forms of Mongolian oral literature, songs,music and traditional culture, rituals and customs.Most significantly, there is a tradition of playing theMorin Khuur at all ritual and ceremonial events –every ceremony having to begin, by custom, withthe melody of Morin Khuur and an “long song”.

This masterpiece is organically involved in all typesof festivals, customs, ceremonies and rituals whichare based on nomadic lifestyle. The traditional musicof Morin Khuur expresses the symbolic andceremonial character of the “Naadam” festival (horseracing, archery and wrestling) and the “Tsagaan sar”(new year).

• Excellence in the application of the skill and tech-nical qualities

Even though it has only two strings, this instrumenthas an enormous capacity for creating a range ofSounds and melodies with each method of playingMorin Khuur, including so-called “Shake-hold”playing, “pull” playing, “change” playing. There arealso different forms of pizzicato.

• Its value as a unique testimony of a living cul-tural traditions.

Nowadays, traditional music Morin Khuur is stillused as intangible expression of living culture all overMongolia. At the present day the ritual “offering ofmelodies” on the Morin Khuur is intimatelyassociated with the cultural practices, customs andlabour of the Mongols, specially during the variousceremonies, festivals and official celebration.

tation of traditional performing arts are being car-ried out by Ministry of Culture, Arts and Tourismand its agencies like Department of Archives,Department of Museum and Antiquity, CulturalDivision and National Arts Academy.

3. Expectations for this Meeting are.

To exchange information on the situation ofintangible heritage safeguarding ; to share the resultsof the second “Proclamation of the Masterpieces ofthe Oral and Intangible Heritage of Humanity” inorder to improve Malaysia’s submission; and toimplement Intangible Cultural Heritage Policy inMalaysia.

MONGOLIA

Dr. Norov UrtnasanSecretary-General,Mongolian National Commission forUNESCO

Pressing problems of the promotion of safe-guarding intangible cultural heritage inMongolia

I. Presentation of the traditional music of theMorin Khuur, which was proclaimed as Mas-terpiece at second proclamation.

1. Why and how the particular cultural expres-sion/space was selected for national candida-ture

• Outstanding value as a masterpiece of the hu-man creativity.

Mongolian traditional music of Morin Khuur is aunique and distinguishable from other stringedinstruments in terms of its unusual construction andform, playing technique, timbre, tone and musicalmelody. This masterpiece is one of unique intangiblepractices and expressions of Mongolian traditionalnomadic culture, which is very closely associatedwith nature and environment of the wide expansegrassland and Great Steppes of Mongolia and


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The beginning of spring is marked in Mongolia bythe traditional “Tsagaan sar” (white month) festival,during which people visit and greet one otherceremonially and play the Morin Khuur as a way offrightening away the frost, symbolising good luckfor each family during the whole year. This customis now reflected in state ceremonial customs, wherebyaccording to Presidential Decree on the first day of“Tsagaan sar” each year, the national anthem isperformed on the state ceremonial palace and aceremonial performance of the Morin Khuur isbroadcast nationally on radio and television,symbolising the strength of statehood, happiness ofevery individual.

• The risk of its disappearing.Today due to rapid pace of globalization, andindustrialization Mongolia is experiencing the stronginfluence of urban civilization. The natural disasterssuch as drought, heavy snowfall, and sharp changeof climate take place every year causing fall or animalstock and pushing the inherited herdsmen family tomove to the urban places in great number.

Traditional way of life and customs, which used toabsorb the traditional oral and intangible heritage ofnomads are changing now and various forms ofcultural expressions related to such heritage are onthe verge of disappearing. The generation gap iswidening in terms of time, space and mentality.According to the survey, the number of talented folk,who bear the intangible cultural heritage in its originalforms, is decreasing in every region.

The professional training of Morin Khuur musiciansconducted in music schools is lacking in traditionalknowledge, for which reason many of the openingmelodies of the khalkh feast and so on have beenlost. Moreover, the professional training does notgenerally distinguish between the musical styles ofdifferent minority ethnic groups, which destroy theuniqueness of the different traditions, schools,manners, and skills. Yet with the about-mentionedsituations many of the vital centuries-old traditionalcustoms associated with the Morin Khuur are beinglost. During the past 70 years, the Morin Khuurtradition has undergone major changes. Mostsignificantly, the Morin Khuur made the shift fromthe khoimor, or sacred part of the nomad’s home, tothe theatrical stage. As a result, the Morin Khuur haslost many aspects of its centuries-old tradition-specifically its folk art characteristics and its intimate

association with pastoral labor of the common people.Nowadays even during some feasts and ceremonies,in the place of a live Morin Khuur and a singer, peoplehave begun to play musical recordings. As a resultof the abandonment of training in traditionaltechniques in courses for professional morin khuurmusicians, many forms of playing have reached thepoint of being forgotten, and the local variations intuning, playing methods and musical style are headedtowards being merged into a single form.

The traditional form of morin khuur training wherebytrainees would become the disciples of elder khuurplayers and master musicians, is on the point of beingabandoned, and the number of khuur playersconversant in the traditional playing techniques arebecoming fewer year by year.

2. Difficulties faced during the selection

• There are a lack of relevant experiences in suchkind of selection activities and specialists who wasengaged in the selection of intangible heritage.

• We have faced difficulties in terms of gathering in-formation and bearers of intangible expressions.The remote tribal communities miss out on re-sources and services that would normally be avail-able to the community. The Western area ofMongolia has the richest existing cultural expres-sions. Example: Hovd aimag is about 1500kmsfrom the central capital, Ulaanbaatar, and the landareas of some of indigenous local tribes are ex-tremely remote.

3. Current situation regarding the implementationof the action plan

On behalf of our generation, living on the thresholdof the new millennium, we declare several pressingobjectives:- Broaden research and publicity related to the Morin

Khuur, its manufacture, and the skills, repertoire,and musical styles of the Master Khuur player ofeach generation.

- Increase public awareness and involvement inspreading respect for the Morin Khuur.

- Encouraging the apprentice (informal) trainingamong national talents.

- The establishment of “The living human treasures”system in Mongolia.


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- Showing efforts towards preserving Morin Khuurplaying style land some local dialects and specif-

ics and pass onto the next generation.

To fulfill these important objectives has beenelaborated the Action Plan on the basis of guidelineson “Protecting traditional culture and folk wisdom”offered by UNESCO to its Member states, as wellas of the Decree of the President of Mongolia on“Spreading respect for the Morin Khuur”.

We have completed a series of specific activitiesrelated to the preservation of the Morin Khuur, withthe assistant of UNESCO. The work covers the wholearea of the country, and involves the collection ofaudio and video recordings of numerousperformances held by various musicians and singersfrom different parts of Mongolia, leading to theformation of an archive related to the Morin Khuurand its musicians. At the current stage of this project,we have started to make a list of Mongol nationalmorin khuur players, which will serve in helping tosolve the problem of how to preserve their talent andhow to sustain their knowledge and the way ofplaying the instrument. In terms of methodology, weare following the UNESCO system entitled “LivingHuman Treasure” to perform the above job.

In the framework of this Action Plan for protectionand transmission of the Now-how of bearers whoinherited playing and making music of Morin Khuurwere carried out the show-cases of Khuur players inthe central, eastern and Gobi (southern) region ofMongolia. Also were held seminars on the theme“Traditional repertoire of the Morin Khuur and itsteaching”. Mongolian specialists are preparingreference book containing a survey of research onthe Morin Khuur in the fields of history, ethnographyand art studies, and basic textbook for amateur andstudents in a formal and informal training system.In Mongolia we have a some initiative for theproducing a documentary film series on the MorinKhuur, establishing a museum dedicated to the MorinKhuur.

4. Other heritage that was considered forcandidature

The proclamation of the Mongolian traditional musicof the Morin Khuur as a “Masterpiece of the Oral

and Intangible Heritage of Humanity” is the first keystep to foster safeguarding of the intangible culturalheritage in Mongolia, and motivation to preparenominations for the next proclamations from a listof intangible heritage existing in Mongolia.

The preparation of the candidature files needs tofirmly connect with the following aims:- To raise awareness among the public, and to recog-

nize the importance of oral and intangible heri-tage at the national and international level, and toenrich the people’s knowledge about the valuesof the intangible expressions in the backgroundas a part of culture of humanity.

- To encourage initiation of establishing the LivingHuman Treasure system and an appropriatemechanism of protecting traditional bearers, andpromote participation of traditional artists and lo-cal creators in identifying and revitalizing the in-

tangible heritage.

According to the Act Concerning the Protection ofCultural Heritage, article 4, the Government ofMongolia needs to prepare the candidatures and takeappropriate measures through encouragingpartnerships.

Among the various types of traditional folklore andother intangible heritage of Mongols, we haveselected Mongolian long song (Urtinn Duu), throatsinging (Hoomii), epics Tuul and wooden windinstrument (Tsuur) for the purpose of submittingthem, one by one, to UNESCO as nationalcandidatures for proclamation as masterpieces of theoral and intangible heritage of humanity.

Another source for candidature selection would bebased on “Data bank on Traditional \ Folk PerformingArts in Asia and the Pacific – A Basic Model “ whichwas produced by ACCU in cooperation with theNational Commissions of the UNESCO MemberStates in Asia and the Pacific. It includes 10traditional \ folk performing arts existing inMongolia, and is expected to serve as a basic modelfor future production of a data bank of mongolianintangible cultural heritage.

Long song (Urtiin duu )Urtiin duu is one of the richest and most treasured ofthe traditional performing arts of the Mongols.Certain patterns of ornamentation, such as


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portamento, trill-like yodels, and passages of greatmelismatic complexity characterize it. The Totalrange of such songs is unusual for a male singer –asmuch as three octaves, including high tones sung infalsetto. The most remarkable features of Urtiin duuare the ornamental melismatic passages. The morethese are used, the more the melodic lines expandand contract in a free rhythm, drawing a delicatecurved line of its own. The longer and wider thesevocalizations are, and the more intricate theornamentation, the greater the appreciation shownby the listeners. The song is sung in a full andpowerful voice, and decorative effects of the music.In performance, the singer concentrates not only somuch on communicating the contents of the text butas on singing the melody skillfully in a free,melismatic style.

“Hoomii” (Throat singing)Hoomii is a unique vocal style using the throat and itis said that Hoomii is as old as nature itself, beginningwhen humans made the first melodies imitating themurmur of streams or the echoes in the mountains.Hoomii is most common in the west of Mongolia,and this style is also known among some of the peopleof Central Asia. There are different techniques ofperforming the Hoomii overtones, using the nose,throat, chest or abdomen. Only men perform itbecause it needs much physical strength, though thereis no particular taboo against its practice by women.• To consider these cultural expressions to be qualifiedas an outstanding contribution of Mongolian nationinto the oral and intangible cultural heritage ofmankind the following reasons were taken intoaccount: These two Mongolian traditional intangibleheritage have outstanding values as a masterpiece ofhuman creativity because of there are unique anddistinguishable in the comparison to any otherintangible art expression, a long lived art practicesof Mongols, who is the custodian of these know-how,also these expressions are a unique testimony ofliving cultural tradition of Mongols, at the additionto this the two intangible heritage are on the verge ofdisappearing.

II. Case studies of intangible heritage preserva-tion activities in Mongolia

With the purpose to implement the UNESCOrecommendation and the Decree of the President ofMongolia, Government adopted “The National

Program for support of traditional folk art”, andschedule of works was planned for 1999-2006. Inthe framework of this Program there was elaboratedthe Action Plan (2002-2007) regarding the protectionand development of the traditional music of the MorinKhuur as a masterpiece of the oral and intangibleheritage of humanity.In the framework of the National Master Programand Action Plan the following activities are carriedout:

a) Public awareness raising

• In 2002 President of Mongolia N.Bagabandi passedthe Decree concerning “The spreading of respectfor the Morin Khuur”.

• The Mongolian Parliament has initiated the newamendments on the intangible cultural heritage tothe Law on protection of cultural heritage andadopted these amendments.

• During recently 5 years the following activities wereorganized in Mongolia:

- State level competition of well wishing and pan-egyrics named after B.Agvaanjambal, the famousbenediction teller held in Hentii province.

- Festival “Altargana” of Buriad-Mongol cultureand art held in Dashbalbar country of Dornodprovince.

- Competition of Borjigon long song held inGovisumber province.

- Long song competition “Jaahan sharga” held inOngon sum of Sukhbaatar province.

- Folklore festival held in Ulaanbaatar in 2001 and2003.

• National TVs such as Mongol TV and UlaanbaatarTV broadcasted 4 programs on the activity of theCenter for the intangible cultural heritage and re-sult of the Project on audio-visual documentationof the Mongolian oral heritage and there were sev-eral advertisings on the Mongolian radio, and cen-tral and local newspaper.

• The official ceremony of the handover of UNESCOcertificate on a proclamation of the traditionalmusic of the Morin Khuur as a masterpiece of theoral and intangible heritage of humanity was held

in Ulaanbaatar Mongolia in January, 2004.


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b) Heritage management including inventorymaking

As it is stated in the 4th chapter of the programmeadopted by the Mongolian Government (1999-2006),all the central and outer implementing organizationsand bodies are responsible for the preservation andpromotion of the traditional intangible heritage.The programme activities will be jointly organizedby Ministry of Education, Science and Culture,National Commission for UNESCO, National Centerfor Intangible Cultural heritage, Morin KhuurSociety, and others.

A National committee established by the Ministerfor Culture consists of representative of eacho rg a n i z a t i o n w i l l h e a d t h e p r o g r a m m eimplementation. The implementation of theprogramme will be based on the corporation ofgovernmental and non-governmental organization,and on the activities of practitioners and bearers ofintangible cultural heritage.

During the programme implementation we havecreated the database of video records of 220 hoursand audio records of 87 hours including the repertoireof more than 480 folklorists and national list ofinheritors of intangible cultural heritage, includingplayer with Morin Khuur which become veryimportant grounds for preservation, revitalization,study and advertisement of the intangible culturalheritage.

UNESCO and Japan Fund’s generous assistance foraudio-visual documentation of the oral heritage wasvery timely. During the project implementationperiod a number of a very famous bearers ofintangible heritage has died, however thanks to theproject their unrepeated repertoire has been preservedin archive of our National center for intangiblecultural heritage.

As result of the action plan the activity of NationalCenter, which is responsible for audio-visualdocumentation of intangible cultural heritage andpreserve the intangible cultural heritage of Mongolianethnicity with nomadic civilization was strengthenedand its staff qualified.

c) Reviving once-endangered heritage ( trainingyoung performers / tradition bearers)

A national list of Morin Khuur players has beenproduced, and measures are now being taken topreserve their techniques and skill and to transmitthese to future generations, through implementationof the UNESCO-guided “Living Human Treasures”system. National competitions of morin khuurartisans have been held twice in the past 5 years, withthe co-operation of relevant state and non-profitorganizations; it is planned that this festival willcontinue to be organized once every four years.

Every five years we have been organizing a “NationalFolk Art Festival”. The musicians and singers, bearersof intangible expressions from different parts ofMongolia who are selected to perform in this festivaland the best of these are awarded with the prize andtitle of “Honored Artist of Mongolia” and “BestTalented Bearer”.

The “Morin Khuur ensemble” was newly establishedin 1992. Over the past ten years this performancegroup has brought the skill of morin khuur musiciansand the timbre capacity of the instrument to a highprofessional level, successfully publicizing both thetraditional morin khuur repertoire and master worksfor morin khuur by modern national composers tolocal and foreign audiences, to considerable acclaim.UNESCO assisted to make a high quality audio andvideo documentation of oral heritage and hasorganized 2 training in 2000 and 2001 on visualanthropology. These trainings were conducted byMarc Soosar, the Estonese famous filmmaker, andorganizer of International Documentary Festival. Thestaff of the center, and fieldwork team researcherswere participated in the second training on visualanthropology as well as Mr.Denzenla andMr.Sengeejamts from Bhutan.

The training was held for 14 days and first weekorganized among the inheritors of intangible heritagein the country including a players with Morin Khuurand next week it continued at the Center.

d) Intangible Heritage in Education

Traditional oral and intangible heritage of Mongoliaare taught trough both types of education, formal and


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informal, specially in the form of traditional folkloreand performing arts. A formal type of teachingperforming arts in schools has been initiated anddeveloped since early 1930’s. Nowadays, in thegrades from 1 to 5 of Secondary Schools are taughtthe essentials of oral and intangible heritage.

The type of informal teaching makes a form of“disciple” training or apprenticeship, which playsimportant role within a family or locality andimplacable in passing on the specific traditionalknowledge and skills to young generation. Somebearers of intangible expressions and traditionaltechniques of playing on the music instruments andsinging songs have taken their children and relativeschildren as their apprentices and are teaching them.Distinctive feature of a “disciple” training youngperformers lies in its close connection with customsand festivals of nomadic way of life and followingclosely and imitating correctly teachers. It should benoted here that since this informal education is avoluntary-based it is not systematic and stable in itsnature. Thus, this kind of informal education needs afull support from the Government and civil society,and a mechanism of economic incentives and rewardshould be established.

e) On drafting national legal instruments for rati-fication of the Convention for the Safeguard-ing of the Intangible Cultural Heritage

Mongolia elaborated a series of definitive acts onsafeguarding cultural heritage, including “The lawon Culture” from 1996, “The law on Protection ofCultural Heritage” from 2001, the Government’sAction Plan and the National Programme forpromotion of traditional folk art.

On his speech during the main debate of UNESCOGeneral Conference, the Minister of Education,Culture and Science Dr. Tsanjid stressed the keeninterest of the Government of Mongolia to adopt theConvention for the Safeguarding of the IntangibleCultural Heritage. The report prepared byDelegations of Mongolia concerning theirparticipation into the 32nd Session of UNESCOGeneral Conference and which is submission to theGovernment on 26 of November 2003, “de-facto”started a drafting of national legal instrument forratification of this Convention.

In that report we emphasized a significance of thisConvention, highlighting its mandate to the globalcommunity, scope and principles with furthersuggestion for Ratification.

In accordance with the current legislation any dratof law should pass the Government, before thesubmitting to the Parliament of Mongolia, thereforewe instructed to prepare well argued proposal. Thismeans that the formal proceeding is started.

Nowadays we identified some main line of actions:- examine the main points of the Convention through

analyze in depth a mechanism of its implementa-tion, its relation with existing local legislation,collision of norms;

- prepare new regulations at the national level /law,resolution etc.,/ or prepare amendments to exist-ing legislation if necessary. At this point we haveto make a comparative study of legislation of theother countries, so to accept/adopt positive points;

- research and collect a broad range of materials, texts,normative acts which are most relevant and theirtranslation into the local language /including theConvention/

But at the top at all is effective cooperation/collaboration of different ministries and agencies,sufficient number of human resources, establishmentof well qualified working group, expertise andexperiences are most important.


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MYANMAR

Ms. Khin Hla HtayPro-Rector,Yangon University of Culture

1. IntroductionMyanmar is a nation with high cultural standards anda long history. It has managed to retain its ownidentity and Myanmar is still endowed with its uniquecharacteristics in cultures and national customs andtraditions. It is commonly assumed that theendowment is attributable to the teaching ofBuddhism, the main religion of the country, and alsoto the dynamic patriotic spirit of Myanmar people.

Myanmar is rich in cultural heritage which dates backover 2,000 years. Culture in Myanmar, which is thebasic foundation of the entire life style of Myanmarand its cultural identity which is purely Myanmarway acts like great barricades not to be overwhelmedby any influences of other culture and traditions. Thispoint can be documented as one of the major roles inMyanmar society. Myanmar is sustained itstraditional and culture although she has gone throughmany changes during the long course of her history.These threshold preservation has led to the territory,sovereignty, traditions and culture preserved andsafeguarded by Myanmar People.

2. Historical Background of Myanmar CultureAccording to the findings of the evidences of primatefossil remains from Pondaung region, theinternational palaeontologists unanimously acceptedand recommended that the anthropoid primates whichare probably origin of human beings emerged onMyanmar soil since 40 million years ago. Similarly,the Paleolithic Anyathin culture was started in UpperMyanmar 500,000 years to 300,000 years of age.These evidences and archaeological findings fromexcavated sites are a sound proof of how civilizationof Myanmar was developed.

When we look back the ideology of Myanmar andtheir way of thinking about culture it is alwaysaccordance with the teaching of Buddha. NaturallyMyanmar People are graceful, happy and contented,love peace and value it. The most significantcharacteristic of Myanmar Culture is that it embracesgentle manners, customs, traditions and rules ofconduct that have been sustained and kept generationto generation through many ways. Myanmar Culture

is distinct from others in its way and style which isfree from foreign cultures. Myanmar Culture isinterrelated with the teaching of Buddha.

3. Intangible Cultural Forms of MyanmarMyanmar accepts that culture is a combination ofboth physical and spiritual cultures, the standard ofculture can be measured not only materialdevelopment but also the morale and morality of itspeople. The existence of being a human being willhave no meaning if the religion and literature ofpeople are not fully developed.

Intangible cultural heritages are all spiritual creationssuch as language and literature, all customs,expression of life style of human relations in thesocial life, music, all kinds of performing arts suchas folk performing arts, dramatic performing arts,traditional performing arts of ethnic groups withinMyanmar Union. Intangible cultural property is notworks of Art, but it is the fruit of people’s actionsand behaviour that have historic and artistic value.

3.1 Myanmar Language and LiteratureMyanmar Language is both official and literarylanguage of our country. As Myanmar is a union ofvarious nationalities who speak different languages,but all of them are Sino-Tibetan in origin. SinceBagan dynasty, Myanmar Language has been anational Language for nearly a thousand years. InMyanmar Thinbonegye (Primer) there are 33consonants. In the early stages of Myanmar writing,there were up to 12 devowelizer and then basically12 vowel exist in Myanmar writing.

The Myanmar Literature was developed with theflourishing of the Theravada Buddhism. Many stoneinscriptions proved not only the standard of living ofpeople of that era but also the literacy standard ofpeople. After the period of Bagan, Pin-ya period tookplace, where the Myanmar Literature become moredeveloped and stylish as “Tra-chin, Kar-chin” andRa-tu were appeared. During the Iwa period,Myanmar Literature was in progress and new stylesof writing like “Pyo”, “E-gyin”, “Ing-gyin” wereestablished. The progress was developed till toTaungoo, Nyaungyan and Kon-baung periods,Myanmar classical songs and writing of “maw-gun”“E-gyin” “Pya Zat” and “travelogues” were appeared.

Monastic education played a major role in fosteringbasic literacy among Myanmar people. It accounts


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traditional foods mostly from stick rice and rice.

Myanmar are the people who refer a simple way ofdressing and aware of their traditional styles. TheLongyi-a Sarong-like nether garment is an integralpart of the Myanmar national dress worn by men aswell as women. Myanmar garments for men andwomen are usually made of cotton for everyday wearand silk, satin or the better quality synthetic fabricsfor normal wear. Myanmar people continue to wearown form of dresses not only for convenience butalso a symbol of identity.

The Union of Myanmar is a national constituted witha variety of national races, there are eight majornational races, Kachin, Kayah, Kayuin, Chin, Bamar,Mon, Yakhine and Shan. Among the major nationalraces, Bamar is the largest national races andconsisting major portion of the whole population.There are about 135 minority national races and arelived in Myanmar, mingling and melted together,since it appeared as a nation. The national races,making Myanmar, their home have been polite andgentle since initial times. They are honest and upright,cordial, candid and tolerant. They help each otherand do not bear hostility and grudge. They are vieledwith loving-kindness. These constitute the mentalityof Myanmar nationals. They also join hands inpreserving their owns identity and tradition by thesupport of the government preservation of culturalamounts to safeguarding one’s own race. Otherwisethese traditional cultures would have gone intoextinction along with the disappearance of the race.It is the duty of the whole nation not only cherishand preserve Myanmar Cultural heritage but alsosafeguarding the perpetuation of race, religion,literature, culture and the arts.

3.3 Types of Performing ArtsMusicThere are a wide variety of subjects that fall underthe category intangible culture assets. These may befrom the traditional nursery rhymes or lullabies,which a Myanmar hearts in his cradle to the classicalsongs he listens to a radio and television programmes,from the melody of the bamboo flute played by the acowboy in the country side, to the classical musicperformed by the professional, Preservation andsafeguarding is deemed essential.

A cultural delegation, led by Pyu Crown PrinceSunanda went to Chiann, the capital city of China.

for solid tradition for education and national wideliteracy which Myanmar has enjoyed for centuries.Monastic Education which has had a continuousexistences from the 11th century on ward has a deepand wide influence on life and cultural identity ofMyanmar people.

3.2 Myanmar CustomsMyanmar cultural identity has been preserved andtransmitted one generation to another by family andthe village community social obligations byBuddhists to be observed in relations between familymembers, teachers, elders, students, superiors, etc,are respected and practised by Myanmar in their everyday life is one of significance. The hearts of Myanmarare wreathed in the teaching of Lord Buddha forpoliteness in word, deep and thought and the fivemoral conducts. Myanmar people always avoid everymisdeed and embrace deeds of merits. Myanmarpeople are very familiar with the tradition of payingobeisance. Moreover, Myanmar people have deepfaith and respects in the five Infinite Benefactors-the Buddha, the Sangha, the Parents and the Teachers.

Myanmar family pattern is a close relationship withgrand parents, uncles, aunts, cousins and even thoserelations by marriage Parent obligations to thechildren continue until they come of age get marriageis one of the basic characters of enjoying the extendedfamily life. Father and mother plays a major role inteaching children a knowledge of preserving thecustoms and traditions.

The Monastic Education plays a major role, by whichMyanmar Culture identity were molded andestablished. The objective was to render the childrenliterate and familiar with the skill in numbers requiredin life. There were taught the wisdom contain in theMangala Sutta basic practices which lead to a worthylife. The children were taught thirty eight ways oflife styles which leads to a peaceful life fromMonastic Education. Regarding to their strong willas a Buddhist, every Myanmar family try to fulfil bynovitiating their sons. Myanmar Buddhists have highappreciation of being regarded as donors or wellwishers of such donations. They try to construct thePagodas, temples, monuments, monasteries andmany religious buildings. They join the festivalprocessions such as going to the monastery or pagodain their dresses and bearing gifts or offerings. As thereare festivals through out the Myanmar Calendar, thereare not only rituals to do so but also varieties of


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The delegation consisted 35 members of musicians,dancers, singers. They played 19 kinds of musicalinstruments which were made of metals (2), conchshell (1), string (7), bamboo (2), gourd (2), leather(2), ivory (1) and horn (2). The account of the visitperformance of Pyu musicians and dancers at theChinese court was graphically recorded in theChinese historical archives such as the old and newhistory of Tang dynasty. Concrete evidences supportthe historical fact was that the discovery of smallbronze figures, 4.5 inches in height, excavated fromthe site of Pyu City of Srikshetra (Thayekhitttaya),in 1967. One is a flute player, one a drummer, one acymbal clapper and the fourth dancer. The fifth figurewhich is half the size of the first four looks like adwarf clown carrying a sack on its back. The headsare large for the size of the figures but the bodies areof fine proportion. They are well dressed andbedecked with ornaments. All of them assume mostanimation postures in consonance with theperformances they are engaged in.

Myanmar tradition music consists of (1) Folk Music(2) Court or Classical Music. Folk Music is simple,unsophisticated and pastoral, depicting the life styleof country people. Folk Music is composedextemporaneously. It is orally recorded, generationafter generation Majority of Myanmar folk Musicdeal with agricultural activities Court or ClassicalMusic is highly refined and developed artificially andintellectually. It is composed by both professionaland amateur composers. Classical Music and itscomposers are recorded as Maha Gita.

Myanmar traditional music both folk and classical,is played with five kinds of musical instruments. (1)Kye (bronze) instruments such as gongs, cymbals,bell (2) Kyo (string) instrument (3) The-yey (hideleather) instruments, such as drum, drumlets, longdrums (4) Lai (wind) instruments such as flute, oboe(5) let Khout (clapper) instruments such as bambooClappers.

DancesThese are three major types of Myanmar performingarts. (1) Folk performing arts. (2) Traditional /Dramatic performing arts. (3) Traditional performingarts of national races within Myanmar Union. Underthe Folk performing dance there are eight kinds ofdances. (1) Bongyi (2) Bon-shey-gyi (3) Bon-shey-yein (4) Ouzi (5) Dobat (6) Zaw Yein (7) Nat dance

(8) Nit Pat-Khin. Folk dance is rural and parochial.It has four variations (1) ritual (2) mimetic (3) socialand (4) recreational. Folk dance propitiate the spiritsof ancestors and relative and those of naturalphenomena. It mimes daily chores of rural lifehunting, fishing tilling, sowing, planting harvestingand pounding paddy. Mimetic dance breaks themonotony of work and in some ways promotesagricultural production. Folk dance serves the ruralcommunity. It is performed on happy and sadoccasions such as child birth, courting, marriage,housewarming, or funeral, to express communal joyor sorrow. It is performed during leisure time toentertain others and to enjoy the performance.

There are many different kinds of Traditional/Dramatic performing arts in Myanmar. They aremeant for entertainment and are performed byprofessional dancers, who dance not for their pleasurebut for other’s enjoyment. They are known asdramatic dancers because they are not only puredances but also sing and act. They are classified as(1) Anyeit dance (drama) (3) Marionette dance.

Anyeit dance is performed by two or three femaledancers with three of four comedians. Drama inMyanmar is Zat. Zat is a word derived from the Paliword, Jakarta, meaning Buddha’s birth story.Myanmar drama plays tell mostly Five hundred andFifty Buddhas’ birth stories. They were performedfor many nights in succession. Performance of allMyanmar traditional play last through out the nights.Stories like Ramayana played for forty-fivesuccessive nights. Drama plays most important rolein educating the people from all levels. Among theMyanmar traditional dance, Myanmar marionettedance still survives as a brilliant tradition andsophisticated string-craft. In olden days, it was knownas Ah-myint Tha-bin which literally means theperformance on the high level because it wasperformed on the stage, where as all otherentertainments were performed on the ground andthey were called A-neint Thabin, entertainments onthe low level. There are (28) puppets to depict the(28) Puppets (phisical forms) which consists of (4)Bu-ta-ru-pas (elements) and (24) (U-pa-da-ya-Ru-pas) (attachment) mentioned in the Ah-bi-dhamma.The Buddhist teaching embodied in the third basketof Ti-pi-ra-ka. The (4) minister marionettes representthe (4) elements and the other24 puppets are two natvotaresses, one hourse, two elephants (black and


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white), one tiger, one monkey, one parrot, two ogers,one zawgyi (alchemist), one dragon, one garuda(mythical bird), ine deva (good spirit), one king, oneprince, one princess, two prince regents, oneastrologer, one hermit, one old man and woman andtwo court jesters. Also there are traditionalperforming arts for national races, each national racehas several kinds of dance and music.

4. National level agency/organisation dedicated topreservation and promotion of traditional/folkperforming arts

4.1 Ministry of CultureMinistry of Culture was established on March 1952and now it is comprised of the office of the Ministerfor Culture and following three departments.

(1) Department of Fine Arts (2) Department ofArchaeology (3) Department of Cultural InstitutesThe policy of Ministry of Culture is “To love andcherish the country and the people by taking prideon own good traditions as well as by preserving,exposing and propagating Myanmar CulturalHeritage. “To implement the above mentioned policythe following work programmes have been laid down

and being carried out.(1) To preserve the cultural heritage of Myanmar with

a view to emergence of Myanmar style and Cul-ture.

(2) To produce works of fine arts which support theprogress of the state and public.

(3) To enable the artists and artistes hat works of finearts are not for entertainment only, but to promoteknowledge, to eliminate the idea that “a work ifart us for the sake of both the artists and the pub-lic”.

(4) To educate the public to be fully imbued with theprevalent ideas.

(5) To help develop the unity, nationalistic spirit andpatriotism among the people.

(6) To help the elimination of decadent culture.(7) To help the promotion of the morale and moral-

ity of the public.(8) To help develop the union spirit in exposing cul-

ture.(9) To make endeavours in promoting the develop-

ment and standard of culture.

4.2 Department of Fine ArtsThe policy of the Department of Fine Arts is topreserve and promote Myanmar fine arts such as

music, Zat performance, painting and sculpture tocarry out research Myanmar traditional, songs, dance,music, painting and sculpture and publish those worksto provide Zat and Anyeint performance, marionetteshows, dance, music and songs at state functions andreceptions, to give public performances, to implementcultural exchange programmes and to establish finearts schools. The object is to bring to light, preserveand propagate the Myanmar traditional painting,sculpture, dance, marionette and classical Zatperformance to new generation artistes. Departmentof Fine Arts under the Ministry of Culture has laiddown the following worked programmes.

(1) To study, expose and preserve Myanmar tradi-tional performing arts, drama, plays, Anyeint, clas-sical dramas and national races, traditional danceand music.

(2) To expose and preserve ten kinds of Myanmartraditional arts and crafts.

(3) To carry out cultural exchange programmes withforeign countries.

(4) To scrutinize and make efforts for issuing correcttraditional Myanmar calendar.

(5) To scrutinize Myanmar fine arts if it is harmonywith norms and customs.

(6) To nurture and bring out new generation personsof advanced fine arts through basic painting, sculp-ture, and theatrical training schools and Universi-ties of Culture.

5. Prominent NGOs working in this field5.1 Myanmar Theatrical AsiayoneThe Myanmar Theatrical Asiayone was formed onthe 29 August 1992. The Motto of the MyanmarTheatrical Asiayone (Association) is “ Towards theEmergence of Theatrical Arts Beneficial to theCountry and the People. On eof the objectives of theAsiayone is to preserve, rehabilitate, propagate andupgrade the various theatrical art forms.

The following work programmes have been laiddown and being carried out.(a) Formed township theatrical asiayone in 128 town-

ship.(b) Organized the theatrical to entertain the people.(c) Organized the veteran theatrical to act as judges

in the Myanmar Performing Arts Competitions andAnyeint Thabin Competitions.

5.2 Myanmar Music AsiayoneThe following are the Music Committee that has


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carried out the work under the Myanmar MusicAsiayone (Association) (a) Entertainment (b)Information (c) Social (d) Education (e) Financial.

The members took part in Functions such as theNational sports Festival; Myanmar Regatta festivals,student sports festival so that they could organize thepeople by music. The experts from the Associationact as judges in the Myanmar performing artscompetitions. The Motto of the Myanmar MusicAsiayone is “Gita Swan Ah Pyay HtunKar” whichmeans that the strength of the music supports thedevelopment of the country.

6. Legislation in safeguarding the CulturalHeritage

6.1 The Television and Video LawThe State law and Order Restoration Council enactedthe “Television and Video Law” on 29 July 1996.

6.2 The Protection and Preservation of CulturalHeritage Region LawThe State Peace and Development Council enactedthe “The Protection and Preservation of CulturalHeritage Region Law” on 10 September 1998.

7. Inventories / Directories(1) Hitin Aung, Dr. (complied) / 1937 Burmese

Drama(2) Ministry of Union Culture (complied) /1959

National Traditional Dance(3) Sein, Kenneth (complied) /1965 The Great Po

Sein(4) Pan Tayar Myint Aung /1969 History of Myanmar(5) Khin Zaw, U (complied) /1977 Rurmese Music(6) Tin Tun Oo (complied) /1999 Myanmar Ouzi(7) Ministry of Culture (complied) / 2001 Myanmar

English Performing Arts and Plastic Arts Dictio-nary

8. Audio-visual documentation collection8.1 Myanmar Radio and Television, Pyay Road,YangonMyanmar Radio and Television informs educates andentertains the public. The MRTV is informing andimparting knowledge on activities of the variousdepartments, enterprises and organizations which arecarrying out respective tasks under the Government.

8.2 Information and Public Relation DepartmentNo. 22/24 Pansodan St. Yangon Myanmar.More than 300 Libraries are kept open at the district

and township offices of the Information and publicRelation Department. Books are lent withoutcharging fees. Moreover mobile library projects forrural people have been implemented. MobileLibraries have visited more than 300 villages.

9. Successful/On-Going Intangible Heritagepromotion/preservation Activities carried outfor safeguarding and Preserving MyanmarIntangible Heritage are:

(1) The Myanmar traditional Cultural Regatta Festi-val has been held annually since 1989.

(2) The Myanmar Rural Folk Arts Exhibition washeld for 100 days, from 1 September to 12 De-cember 1997.

(3) In 1996, the Exhibition and competitions of theTen Myanmar traditional Arts and Crafts wereorganized in Mandalay.

(4) An International Seminar on the Art ofLacquerware was held in Yangon in 1996.

(5) Myanmar Anyeint Competition was organized in1995.

(6) Myanmar Performing Arts Competitions havebeen held annually for eleven years since 1993.

(7) In order to make sure that Myanmar traditionalcultural crafts do not fall in to oblivion, and inorder to increase the number of craftsman skillsin those arts, more and better-crafted works of artare created, The ten Traditional Crafts Competi-tion and Exhibition was held in Mandalay fromDecember to 2 January 1996.

(8) Bed of New Seedlings Arts and Sculpture Exhi-bition, organized by Research and Training Sec-tion, Department of Fine Arts Ministry of Culture,as held at the National Museum from 18 to 28December 1998.

(9) Antiques and Antiquities Exhibition was held atthe National Museum in 1999.

(10) The graduates from University of Culture havebeen assigned duties under the Ministry of Cul-ture and other Ministries.

(11) Publication of Myanmar Maha Gita ClassicalSongs, compiling Music in International notes.

(12) Publication of “Myanmar Traditional Instru-ments.”

(13) Publication of “ Female Fundamental Dances.”(Sep - 1 and 2)

Research activities of the Department of Fine Arts(1) Searching for collecting and making records of

research works on painting and sculpture, as wellas dialogues, laments and monologues in the form


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of Music for Zat performances.(2) Compiling and publishing MhaGita classical

Music Volume 1 to 3 (the authorized version),Choreography of Daw Awbar Thaung’s Gabyalut(lyricless) beat dances, royal couple songs, Zatterminology, terminology of Myanmar musicalinstruments.

(3) Collection and recording Myanmar traditionalfolk songs and old songs.

(4) Compiling a chronology of Myanmar Painting.(5) Compiling a study of the origin of the Myanmar

traditional culture as a section of the chapter 1 ofthe treatise on Myanmar cultural works of art ofthe Yadanabon Period.

(6) Compiling a brief survey of the relationship be-tween Myanmar art and world art.

(7) Commissioning oil paintings to exhibited at theBagan Museum.

(8) Completing the literature of Ramayana Royal Playfor the publication at the State level.

(9) Revitalizing Inao Grand Royal Play.(10) Organizing of Art Competition for New Gen-

eration.

Training Programmes for safeguarding ofIntangible Heritage(1) 3-year courses for intermediate level students

majoring Art and Sculpture at the Art and Sculp-ture School in Yangon and Mandalay (establishedin 1952 and 1953)

(2) 3-year courses for middle school level students,majoring Music and Drama at the School of Mu-sic and Drama in Yangon and Mandalay (estab-lished in 1953)

(3) 3-year Bachelor Degree Courses, 4 year HonoursDegree Courses for matriculated students major-ing in Music, Dramatic Arts, Painting and Sculp-ture at the University of Culture Yangon (estab-lished in 1993) and University of CultureMandalay (established in 2001).

The significance of this University is that the appli-cants must have keen interest in fine arts and talentor aptitude in that field to some extent. Moreover,the students have to take such culture-oriented aca-demic subjects as Myanmar literature, English lan-guage, History, Science, Archaeology, Oriental Stud-ies, Myanmar National Culture, Geography andMathematics an additional to the four main special-ization: Music, Dramatic Arts, Painting Sculpture.Those who major in Music specialization have tolearn structure and evolution of Myanmar music,

Vocal music, Fundamental theories of music, basicinstrumental playing (Harp, Xylophone, Piano, Vio-lin), Myanmar traditional orchestra (Drum Circle,Oboe, Brass Circle, Gong) and Advanced study ofworld music, Biography of Mahagita composers andwestern composers, Music composing. Traditionalmusic of Myanmar nationalities and fundamentalelements and characteristics of Myanmar music.

In Dramatic Arts specialization, students have to learnMyanmar traditional grand drama, Dancing and cho-reography, Dramatic music, Myanmar marionette,Play writing Stage directing and ywe (cane ball) arts.

In Painting specialization, Art of drawing, Myanmartraditional arts, Art of anatomy, Art history , Finearts, design and Commercial arts are prescribed.

In Sculpture specialization, Technology of Sculpture,Myanmar Traditional Sculpture, Art anatomy, Draw-ing, Contemporary Sculpture Material Technologyand Technology of Sculpture (Modelling / Canning)are taught both theoretically and practically.

The total number of Graduate students majoring inMusic (293), in Dramatic Arts (277), in Painting(295), in Sculpture (114), totally (979).

In order to preserve and understand the cultureculsoms and traditions of national races of Union,the following University and College are established.

(4) The University for Development of NationalRaces of the Union, Sagaing.

(5) Nationalities Youth Resource Development De-gree College Yangon.

To get the largest force of youth and with the aim ofperpetuity and integrity of the nation, solitary of na-tional races, perpetuation of national sovereignty andterritory the following association has been estab-lished in 1993.

(6) Union Solidarity and Development Association

In order to preserve and safeguard the Myanmar In-tangible Culture, the following programmes are theorder of priority.

- Carrying out Myanmar Traditional Culture per-forming Arts Competition yearly since 1993, inthe level of contestants such as Higher Education


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level, Basic Education levels (5-10) years old, (10-15) years old and (above 15) years old.

- Educating the knowledge of Intangible CulturalHeritage to young generations through MonasticEducation.

- Develop a cultural curriculum profiles as part ofeducational system from primary to the secondlevels.

- Fulfill the trained professionals (or) specialists inthe area of heritage management and research.

- Raising awareness on Intangible Cultural Heritageand its importance.

- Establishing the proper system of identifyingdocumenting and cataloguing Intangible CulturalHeritage.

- Strengthening the level frame-work for the safe-guarding the Intangible Cultural Heritage.

From this Regional meeting in Asia and the Pacificon promotion of safeguarding Intangible CulturalHeritage, we can share the key issue of safeguardingIntangible Cultural Heritage in the region. Moreoverwe can discuss the on-going Intangible Heritagepromotion activities such as public awareness raising,documentation, heritage management includinginventory making. We can also discuss and consulton ACCU strategies in Asia and the pacific andmedium term programmes to be implemented in2004-2008. We can gain a knowledge of Japanesesystem of safeguarding Intangible CulturalProperties.

10. ConclusionThe Intangible cultural heritage expresses afundamental part of spiritual and social life ofpeoples. It is the source of identities, diversity andcreativity. Since there are rapid changes of recentsociety because of globalization, the traditionalculture including the intangible culture heritage is indanger of disappearance. The emerging issue like“globalization” should not be taken into accounts as“destructive” and stop looking at it in a “defensive”way. We need to strengthen the young generation notonly academically but culturally. For Myanmar,family value systems are precious, traditional waysof visiting pagodas, monasteries, holding festivalsetc, are authentic. The preservation of family valuesis the major concern for safeguarding the IntangibleCultural heritage. The life of Myanmar Buddhistswhich is chiefly guided by the teaching of Buddhaand Buddhism’s influence to preserve the MyanmarCulture. The state Peace and Development Council

have been laid down the Four political objectives,Four economic objects and Four social objectives.The Four social objectives are:- Uplift of morale and morality of the entire union- Uplift of national prestige and integrity and preser-

vation and safeguarding of cultural heritage andnational character

- Uplift of dynamism of patriotic spirit- Uplift of health, fitness and education standards of

the entire nation.

Although the government takes full charge ofendeavours for the promotion of Safeguardingthrough out the nation, it is to create morecollaborations among respective ministries andenhance more admin-support in carrying out thecultural activities. It is the duty of the whole nationto cherish, preserve and safeguard the MyanmarCultural Heritage.

NEPAL

Mr. Shanker Prasad KoiralaJoint-Secretary, Head of Division,Culture Preservation and Promotion Divi-sion, Ministry of Culture, Tourism and CivilAviation

Part I: GeneralIntroductionAs we all may be aware that Nepal is a multiethnic,multilingual, and multicultural country and hence ithas been a great repository of cultural heritage in theworld in terms of both tangible and intangiblecultures. The elements of oral and intangible heritagein its authentic form could be found practised by theolder generation in remote areas or in its originalplace in every nooks and corner of Nepal. Theseintangible heritage to the multicultural andmutliethinic society of Nepal and they were passeddown from one generation to another throughout theyears.

Beside its grandeur natural attraction and tangibleworld heritage sites, intangible cultural heritage likefolk songs, folk dances and some other unique andtraditional festivals and performances in Nepal havebecome a great attraction for tourists. In essence,Nepalese culture is characterised by diversity in unity


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and unity in diversity. However, the irony is thatNepal has been focusing more on its tangible culturalheritage as compared to intangible cultural heritage.

Responsible AgenciesIn Nepal, the overall responsibility for thesafeguarding and promotion of oral and intangibleheritage falls under the direct jurisdiction of CulturalPreservation and Promotion Division of Ministry ofCulture, Tourism and Civil Aviation. The otherorganisations involved in this respect are Royal NepalAcademy, Cultural Corporation, television and radiostations, national theatre and other private agencies.Ministry of Information, and other cultural non-governmental organisations play an important rolein helping Ministry to carry out this important task.Department of Archaeology is also partially involvedin the preservation of some unique intangibleheritage. The promotion part is also being looked afterby Nepal Tourism Board.

New Initiatives Taken by the GovernmentRecognising the importance of intangible culture, HisMajesty’s Government of Nepal has taken a numberof new initiatives in the recent past. Some of themare as follows:1. Nepal is now in the process of finalising a draft

of new Culture Policy which gives high priorityto the preservation and promotion of intangibleand oral cultural heritage.

2. In order to better integrate the culture withtourism, products and attractions, the CulturePreservation and Promotion Division andDepartment of Archaeology under the thenMinistry of Education has been attached to thethen Ministry of Tourism and Civil Aviationmaking it Ministry of Culture, Tourism and CivilAviation.

3. Government allocates certain amount of budgetand provide subsidy every year for the support inpreserving and promoting intangible traditionaland indigenous cultural heritage such as folksongs, dances, folklore, festivals, festive events,craftsmanship, etc.

4. Government is also heavily involved in thepreparation of inventory of all intangible culturalheritage throughout the country. The preliminaryinventory is expected to be complete by th end ofJuly 2004.

5. Discussion has been initiated on the establishmentof new Performing Arts Academy for thepreservation and promotion of intangible cultural

heritage within the country.6. Copyright Act is already in place, Copyright

Register Office was set up and the CopyrightRegulations are in the process of the cabinetapproval.

7. A high level committee is currently working onthe establishment of the proposed NationalFolklore Museum in Nepal.

8. Nepal Tourism Board, a National TourismOrganisation is also involved in the promotion andpublicity of the major presentable intangiblecultural heritage on a regular basis. Major folkand traditional dances are being directly promotedthrough regional and international tourism andtravel fairs.

9. Nepal Cultural Corporation organises annualnation-wide classical music festival, folk songcompetitions and folk dance competition, both atthe national and regional level regularly.

10.Cultural Corporation also organises at a regularinterval various workshops, training andorientations to the performers.

11.Some cultural heritage is being revived throughsome tourism and cultural festivals, which areorganised locally and promoted centrally on thebasis public-private partnership.

Part II: Casestudy – on-going Intangible HeritagePromotion/Preservation ActivitiesSakela Silli Dance (Chandi Dance)Simali….Seuli…..Gadera

Introduction of the PerformanceThis dance is connected with the worship of the Earth,nature and family god on the occasion of SakelaParva, which is the Sakela Festival when people markthe change in nature. This dance is popular and isperformed by the Kirantis or Rai, an indigenous groupof people dwelling in hilly region of eastern Nepal.On this occasion, they observe the sacred festivalknown as ‘Sakela.’ The dance is performed in honourof the mother earth, nature and ancestors.

When Ubhaulee starts, the days become hotter andthe spring season begins, nature also changes herform. The wild animals, which have gone to the warmplaces to avoid the cold, return to their own shelters.As the time changes, there comes change even in thetune of birds, springs of water spring forth, the levelof water in the river increase, fruit trees bear newbuds, the time of farming starts and peasants preparetheir instruments and make them sharp to work in


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the field. Before starting, they worship their gods andgoddesses in the form of an invocation for showeringthem with prosperity and abundance. This alsoindicates a new season of the year when the motherearth is warm and appropriate for beginning plantingand sowing seeds. They worship simebhume, the Godof water for the rain and Sansari Mai, the Goddess ofthe world for the removal of diseases and for theprotection of house, family and their domesticanimals. It is also worshiped for protectingthemselves from natural disasters such as drought,excessive rain, flood, hurricane, attack from wildanimals.

Similarly, they worship and pray nature and thegoddess earth, ‘family deities’ who they suppose tohave remained in the fireplace. On this occasion,people invite their relatives and near and dear ones.They offer sacrifice of birds and animals, and offerworships, they have fun and celebrate by gatheringin a group; they also eat delicious food, drink andenjoy. Then they initiate new farming for the year.

The farmers become free from their burden of workin the beginning of Mungsire Purnima, a full moonday that falls towards November which marks thebeginning of Udhauli or the beginning of cold autumnseason. It also brings changes in their situation andactivities. Wild animals go to warm places in orderto avoid cold. In the field, the stalks of corn ears beginto swing. People become quite happy and thankfulto god for good crops and favourable weather. Theyharvest the crops and offer the new harvest in thename of god before they taste it. They offer the newcrops in the name of ‘family god’ for their protectionfrom insects like moth, weevil and abundance ofgranary. This is also called Nwagi (tasting newlyharvested crops). People observe the Sakela festivalon Parva is also called Sakewa, Sakenwa, Sakle,Toshi, Bhume etc. In fact the people worship thecreator and the protector known as Paruhang (LordShiva) and Sumnima (Goddess Parbati).

Procession of the PerformanceA well-known priest called Nakchong appoints somepersons for his help and prepares everything for theworship. He selects the main drum beater, and aperson who sacrifices animals, another who carriestree branches with leaves, bearer of bow and arrow,virgin girl for his help according to Mundum Rule (akiranti religious book). He also collects items suchas salenwa (earthen vessel), rice grains, ginger, wine,

plant having bitter leaves, coins as gift, bird (cock),leaf of banana tree and so on for worship. All thepeople join in the house of this priest on the full moonday and mark the beginning of the festival playingtraditional drums.

The procession proceeds forward in accordance withthe accepted convention of the procession which isled by the Nakchong or Shili Mangpa (male dancedirector) and Shili Mangma (female dance director).The procession deposits everything (home madewine, ginger, rice, offering, plant having bitter leaves,cock, articles for worship and virgin girl who carriesthe items for worship). They offer these items to thedeity in a certain place that the villagers have chosenas appropriate. They worship there, too. Everybodycarries one or two items in their hand like sickle,drum seuli, silomi, pomi, jhymta etc. They make acircle holding those items in their hand and danceimitating and representing the hunting age (stoneage), farming age and beginning of industrial age(when clothes began to be woven) along withworking behaviour of animals. At the end of thedance, they put seuli (small twigs with green leaves)on the ground according to the principles ofNakchong. In this way, Shili dance is performed.(courtesy of the text: Arun Valley Cultural Group)

Public Awareness Raising (advocacy, publicity)They very unique performance of Sakela Silli orChandi Nacch is increasingly getting popularnowadays. Though the younger generation of Kiranticaste seemed reluctant in the past to carry over thedance, public awareness among them is tremendouslyincreasing now. Previously it was observed only atthe local level, but at present this dance is beingperformed in the capital city of Kathmandu on aregular basis, at least twice a year. This effort has notonly been considered quite successful in order tobring a great amount of publicity nation-wide butalso to create a wave of awareness among the policymakers and decision makers at the centre too. TheMinistry and Nepal Tourism Board are alsopromoting this dance as a tourist attraction. At thesame time, some local groups or non-governmentalorganisations are also endeavouring to preserve andpromote it. Arun Valley Cultural Group has alsoprepared Video Compact Disc on it.

Heritage Management including Inventory MakingIn the absence of a set of policy on intangible culturalheritage, division of responsibilities have not been


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well defined in Nepal between government andprivate sector so far. However, it has been generalpractice that government’s basic responsibility isconfined only to formulate policies, coordinate withvarious agencies and provide support for preservationand promote such heritage in tourist-generatingmarkets. Unlike tangible cultural heritage, most ofthe intangible cultural heritage is basically performedand managed directly by private sector themselves.Sakela Silli is also being performed or managed bythe respective communities, local groups or clubs.Nonetheless, some of the intangible cultural heritageis also being managed by government sector. Forinstance, some special religious functions andfestivals like Basanta Shrawan, Fulpati, Ghode Jatra(Horse Festival), Shiva Ratri (Birthday of Lord Shiva)and so on are managed and observed directly by thegovernment sector.

Reviving once-endangered heritageIt is quite common in Nepal that some of the uniquetraditional intangible cultural heritage is becomingnon-existence just because the younger generationseems simply reluctant and do not pay sufficientattention towards the continuation of theperformances that their ancestors used to do. Mostof the youths who are basically from the lower classare not motivated financially and morally. So thereis a visible gap in the process of transmission of suchtraditional heritage down to the youngsters. However,some efforts are being made. Cultural Corporationorganises a series of training programmes to theyoung performers. This is a good beginning thoughit cannot be considered enough on the part ofgovernment. Commendable attempts were madeduring Visit Nepal 1988 and Destination NepalCampaign 2002-3 to revive the endangered heritagethrough several local tourism and cultural festivals.Nepal Tourism Board is giving top priority to suchkinds of festivals which have proven boon to thepreservation and promotion of such heritage locally.Similarly, several local groups, clubs andcommunities themselves are coming aggressively inthis front.

One example can be taken from Dohori Geet, whichis a traditional duet song full of wit and sense ofhumour. In the past, it was widely performed in thewestern and mid-western region only. Recently it hasbecome so popular that most of the hotels andrestaurants throughout the capital city nowadaysorganise Dohori Geet every evening. It is one of the

best examples of how this geet was revived nationallyand popularised in a short span of time.

Intangible Heritage in EducationThere is no doubt that until and unless the traditionbearers and young generation become educated, theinvaluable and unique cultural heritage remains in agrave danger. It is just unfortunate that thre is not atthe moment even a single formal education institutefor training in the government sector. Some privatetraining institutes are there fore music and dance, andthey are doing very well in terms of oral heritage,but the scale is quite small and not sufficient to fulfilthe demand of the time. The academidc courses havenot been introduced so far in all formal educationlevels, i.e. school, college or university.

Expectations from this MeetingI have the following expectations from this meeting:1. Exchange views, ideas and opinions among theparticipants from around the world;2. Learning success stories of ACCU membercountries;3. Enhance knowledge and experience from resourcepersons and experts and UNESCO;4. Helping enhance the participants’ capability toformulate policies, design programmes and draw upaction plans with regard to ICH in our respectivecountries; and5. Better understanding the process of Proclamationof Masterpieces and its implications.


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E nga Iwi, e nga mana tena Koutou, tena tatou katoa.It gives me pleasure to represent Aotearoa/NewZealand at these proceedings and to introduce andreflect on some of the examples of intangible heritagethat are valued by contemporary Aotearoa/NewZealand society.

In this paper I report on some of the initiatives takenby my country regarding the safeguarding andpromoting of intangible heritage, including oraltraditions, and specifically refer to what is happeningcurrently within Aotearoa/New Zealand.

The New Zealand National Commission washonoured and privileged to host the Director Generalof UNESCO on a recent visit to Aotearoa/NewZealand. For us it was a most enjoyable occasion.Mr Matsuura met with a wide range of peopleincluding the Prime Minister, members of Cabinet,the National Commission and Maori leaders. At thistime he was able to see some of the initiatives takenby Aotearoa/New Zealand and to address issues ofsafeguarding and preserving significant intangiblecultural assets. I refer to some of these later.

At the 2002 Regional Workshop for CulturalPersonnel in Asia and the Pacific, held in Tokyo inMarch Haami Piripi, the Chief Executive Officer ofthe Maori Language Commission spoke in somedepth on the history of Aotearoa/New Zealand andthe two peoples that make up the bicultural characterof our nation. He highlighted the ‘essence’ of Maoriintangible cultural heritage embedded within thelanguage of a nation steeped in many generations oforal traditions and history. He talked of the memoriesof genealogy, the rich myths and the stories of theorigins of life that are ‘as exciting, inspirational andenlightening as any other analysis including modernscience theory.’ He presented an overview of thestruggles to preserve a language and an oral traditionwithin an environment of alienation where thepervasive colonial power valued the written word andthe English language above the traditions and valuesof the indigenous people. He highlighted the 1987

NEW ZEALAND

Mr. Brian Thomas PaulingDirector, Media Policy Research Centre,New Zealand Broadcasting School,Christchurch Polytechnic Institute of Tech-nology

legislation that declared Maori to be, along withEnglish, an official language of the country. Heconcluded by saying that ‘it remains marginaliseddespite its official status and much work still needsto be done.’ As an indication that such work isongoing I am able to report that, since the lastmeeting, the government has continued to provideresources to protect and enhance access to thelanguage. This includes the full funding of the soonto be launched Maori Television Service (see below)and a new Maori Language Strategy which attractsextra funding above that provided to the MaoriLanguage Commission.

In the Aotearoa/New Zealand context we perceive‘language’ for Maori as being more than just a vehiclefor oral traditions and expressions. It is perceived asan integral part of Maori cultural heritage. We weretherefore pleased that the Convention for theSafeguarding of Intangible Cultural Heritagerecognised the primary role of language as a culturalheritage.

In the Aotearoa/New Zealand context the Treaty ofWaitangi gives, among other things, protection toMaori Taonga (treasure) and included in thisprotection are both tangible and intangible concepts.Working together the Crown and Maori haveresponsibilities for preserving, protecting andpromoting intangible cultural heritage, particularlylanguage.

In recognition of this the government has givenpriority to the establishment of the Maori TelevisionService which will launch nationwide this month. Thenetwork, which has had a long and at time troubledgestation, joins an already existing group of 23independent and separate iwi radio stationsbroadcasting throughout the nation in te reo Maori(the Maori language).

Accepting that the Maori language is the cornerstoneof Maori culture, that it provides a platform for Maoricultural development and supports a unique NewZealand identity within a global society thegovernment sees this service as playing a major rolein revitalising the language and culture that is thebirthright of every Maori and the heritage of everyNew Zealander. It is a taonga, at the very heart ofMaori culture and identity. Maori Television wasestablished by the government under the MaoriTelevision Act of 2003 as a statutory and independent


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corporation. Among the goals set for the network are;that the channel be of a high quality, be cost effectiveand inform, educate and entertain using, mainly, tereo Maori (the Maori language). It also shall haveregard to the needs of children participating inimmersion education and all people learning Maori.Many citizens of Aotearoa/New Zealand, Maori,Pakeha and especially young people of all races areeagerly awaiting the launch of the station and havehigh expectations of its success.

A further example of language preservation is the TeKohanga Reo movement. Funded by the state thistotal immersion Maori language programme is familybased and designed for mokopuna (children) up tosix years of age. The key principle underpinning theKohanga Reo movement is that the language ofcommunication and instruction is Maori. EachKohunga works as an independent communityactivity operating within the guidelines set down bya national body which coordinates the programme(Te Kohunga Reo National Trust Board). Goalsinclude ensuring the safety and well being of themokopuna and contributing towards the preservationand development of te reo Maori.

One translation of the words ‘Kohanga Reo’ is‘language nest’, and this indicates the concept of totalimmersion in the language and culture. Themovement is a powerful tool in drawing peopletogether to support each other and work towards theultimate goal of a bilingual and bicultural nation.

Kohanga Reo have been established in every districtto ensure that every Maori family has access for theirmokopuna and can benefit from the programme.

A further example that incorporates not just languagebut every aspect of performance is the Kapa HakaFestival. Every two years, the Aotearoa MaoriPerforming Arts Society holds this festival - an eventthat celebrates Maori Performing Arts. This is amassive undertaking, each festival costing millionsof dollars to present, celebrating the vibrant art andculture of Maori. It provides a wonderful showcasefor unique dancing, costumes and crafts andcoincidentally has played an important part in therecent resurgence of interest in Australasia’sindigenous peoples. Over 2000 performers, from 35Kapa Haka (dance troupes) from throughout NewZealand and Australia compete in this festival.

Each Kapa Haka performs a number of discretedisciplines including:

• Whakaeke (entry)• Möteatea (traditional chant)• Waiata-ä-Ringa (action song)• Poi (a dance using traditional balls attached to

lengths of cord)• Haka (war chants)• Whakawätea (exit)

The festival has been in existence for 30 years, andis now one of the major events in New Zealand, andalso the premier event of its kind in the world. Thegovernment directly funds the Society to carry outits functions.

These are just a sample of the advocacy, publicising,supporting and managing of successful and on-goingintangible heritage promotion and preservationactivities within Aotearoa/New Zealand.

Currently Aotearoa/New Zealand’s domestic policyfor protecting intangible/tangible cultural heritage isencompassed in a variety of legislative instruments,policies and programmes which include:

• New Zealand Maori Arts and Crafts Institute Act1973

• Antiquities Act 1975• Maori Language Act 1987 which declared the

Maori Language to be an official language ofAotearoa/New Zealand

• The Radio New Zealand Act 1995• The Television New Zealand Act 2003• Maori Language Commission – Te Taura Whiri I

Te Reo Maori• New Zealand on Air – the national broadcasting

commission• Creative New Zealand – a body that funds the arts

in New Zealand including folk and indigenousfestivals

• The New Zealand Music Industry Commission• Radio New Zealand International• Museum of New Zealand – Te Papa Tongarewa• Te Maori Maanaki Taonga Trust for the training

of Maori museum staff based on money raisedvia the international success of Te MaoriExhibition

• Pacific Island Radio – a network devoted to PacificIslands’ languages and culture


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• Oral history funding• Marae preservation• Kura Kaupapa and Wananga – Maori educational

institutions funded by government.

Whilst in the Aotearoa/New Zealand context muchhas already been done to incorporate protection foraspects of intangible cultural heritage into the legalframework, government policies and programmesand the government is supportive of the concept ofthe safeguarding of intangible cultural heritage thereis still uncertainty as to what additional safeguardswould be added to Aotearoa/New Zealand’s diversecultural communities through the adoption of theConvention at this stage. The government is verysensitive to the responses of key stakeholders andthere are a considerable number of issues that needto be worked through before there is enoughcollective ‘comfort’ to adopt the convention.Significant among these are cautions concerning theuse of inventories as a way of safeguarding intangiblecultural heritage. A great deal of consultation isrequired with affected communities about whethertheir intangible cultural heritage could be includedin such an inventory. There is a feeling that the releaseof such information into the public domain couldthreaten or inappropriately exploit such heritagerather than protect. Furthermore there is someresistance to the concept of ‘ranking’ intangible itemsas this is perceived to give prominence to somecultural behaviours at the expense of others. Suchprioritising does not sit easily will the values thatmany place upon such taonga.

It is also felt that further consultation and research isnecessary to relate the Convention to otherinternational agreements to which Aotearoa/NewZealand is already a signatory. While there is a strongfit between the Convention’s relationship withinternational agreements relating to intellectualproperty and the use of biological and ecologicalresources there is a debate within our communitiesas to the relationship with other internationalobligations in particular with trade agreements in thearea of goods and services.

Furthermore, we are aware of the vast and rich storeof intangible heritage that exists with the PacificIsland nations to our north. We see an important rolein supporting and encouraging the preservation ofimportant intangible assets in nations that have scarce

resources available within their own economies todevote to such tasks.

In conclusion, the government of Aotearoa/NewZealand is working in a positive manner to addressthe very important and significant issues of intangiblecultural heritage and is conscious of the fact that thisunique country is both a source of and a repositoryfor many cultural activities that are both worthy ofpreservation and yet face varying levels of threat.We are committed to working through the issues in amanner that respects the cultural traditions of allcitizens of Aotearoa/New Zealand and the objectivesof the Convention for the Safeguarding of theIntangible Cultural Heritage. We are interested inhearing about the experiences of other countries asto how they have identified their significant intangibleheritage. To assist this end my presence at thismeeting is to ensure that the New Zealand NationalCommission for UNESCO is kept informed, that welisten and learn and that we continue develop andpromote strong and successful policies for thesafeguarding of our own unique and often threatened

intangible heritage.

PAKISTAN

Mr. Mohammad Ayub BalochSecretary, Department of Culture,Information and Information Technology,Government of Baluchistan, Quetta

PAKISTAN:Blessed with rich cultural heritage Pakistan is acountry where human civilization inaugurated,flourished and spread to vast regions in the vicinity.There are numerous ancient sites and invaluablehistorical monuments that bespeak of humanexcellence in the direction of civilizational maturity.Kachi plains at Bolan river banks of Balochistancradled 9000 years old Mehrgarh civilization, Indusriver banks hosted 5000 years old Moenjodarocivilization, coming to Harappan and Gundharacivilizations, Haro river banks blossomed themarvelous Taxila, near Islamabad. Similarly Thatta,Takhtibai, Rohtas Fort, Lahore Fort, Shalimar Gardenetc. are jewels of human heritage presented to theworld by Pakistan as the proud contribution to humanheritage. Besides there are many other invaluable


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landmarks like Mir Chaker Fort Sibi, awaitingexploration, protection and restoration avertingextinction.

Pakistan is equally rich in the intangible culturalheritage too. Being a moderate developing countryit is committed to move forward on the path ofeconomic development and prosperity but at the sametime it attaches immense importance to its culturalheritage.

The Paper attempts to introduce the country, thenfocuses on the traditional “cultural space of Sibi”,in Balochistan, located close to the seat of Mehrgrahcivilization, displaying continuity of intangiblecultural heritage of Pakistan since 15th century.

Pakistan is strategically situated at the cross-roadsof the Middle Eastern, Central Asian and South EastAsian civilizations. It borders with Afghanistan onits north, India on its east, and Iran on its west andthe Arabian Sea on the south. It covers an area of796,095 square kilometres with a total populationestimated at 134.5 million. With Islamabad its Capitalcity, Pakistan is composed of four provinces viz.Punjab, Sindh, the North West Frontier Province(NWFP) and Balochistan. Punjab is the largestprovince of Pakistan in terms of population, whichis around 65 million. It extends over an area of2,05,344 km2 and its capital city is Lahore. The nextdensely populated province is Sindh, which is spreadover an area of 140,914 km2. Karachi, the capital ofSindh being the port city and having a significantlylarge urban and industrial base, enjoys an importantstatus in the national economy. The third province inorder of population is the North West FrontierProvince. With its capital at Peshawar, the provincecovers an area of about 74,521 km2. The smallest ofall the provinces in terms of population is Balochistan(6.51 million). But it is the largest province in termsof area (44% of Pakistan). Quetta is its capital. Allthese provinces are interlinked through roadtransportation, modern railways system and regularflights, year round.

As mentioned above Pakistan is a land of muchsplendour with its rich cultural heritage and naturalbeauty, it has tremendously contributed to worldheritage. All four provinces of Pakistan are rich inoral and intangible heritage, contributing to theoverall human heritage, both tangible and intangible.

BALOCHISTAN:In the story of man and civilization, Balochistanoccupies a unique position. It has evidence of earlyStone Age man, his gradual development and strugglefor existence. The antiquity of the cultural heritageof Pakistan and particularly of Balochistan is as oldas humanity itself.

It is in this primeval stage of civilization that the grandand grim drama of men’s struggle for existence wasenacted in the hunting stage of human history. Thepresence of human race in this province of Pakistanis traceable to the middle of the great Ice age or thePleistocene period. Many stone tools (PalaeolithicCulture) of the primitive human race have beendiscovered at various places of the Sulieman Range,in Zhob, Kut Mundhai in Marri area and at DhorakDora of Lasbela region. Besides, many caves androck-shelter, with paintings and engraving of thestone age man have been found at Sulieman Rangeand its subsidiary ranges. Unfortunately, no remainsof skeletons of the Palaeolithic man have so for beendiscovered, however, we may imagine wild lookinghuman families living in the caves and rock sheltersand hunting beasts, as is evident from the paintingsand engravings on the walls of rock shelters. Thesubject matter of these paintings and engravings ismostly of animals and the type drawn show the stateof climate at the end of the last ice age with principlefauna in this province. Prominently displayed arewolves, leopards, curved and straight-hornedmarkhor, wild sheep, horses, wild board, ibexes andhumped bull, which were hunted during the latePleistocene or upper Palaeolithic period.

The stone using (Neolithic) agricultural communitieswere established in the province of Balochistan bythe 8th millennium, as attested by the sites ofMehrgarh at Kachhi district and Killi Gul Mohammadat Quetta valley. Though there are many sites of thesecommunities (Neolithic) throughout Balochistan, butare not yet fully studied scientifically. Once thesecommunities of simple mixed forming wereestablished around 8th millennium in the presentpolitical boundaries of the province, indicates that,they expanded, gradually with the passage of time,through-out the province, and rapidly become morecomplex as technology advanced, the early artisanslearned to work with copper and gold, and eventuallybronze, in about 3500 B.C.


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By the beginning of the third millennium, as shownby the archaeological evidence, Balochistan washumming with activities in enlarged villages. In thewhole of Balochistan, along with stone tools, copper/bronze with a variety of plain and painted potterieswere frequently used. The houses were built of mud-bricks on stone foundation. Typical terracotta humanand cattle figurines have been found at these sites ofthe peasant communities of Bronze age though-outBalochistan, which indicates that they were thesubject of “Cult” and we may infer without anyexaggeration that the worship of this divinity (femalefigurines) and bull, must have been widespread inBalochistan. This form of worship was to have asignificant role in the daily life of the Bronze ageman in this region.

As far as the distant past of Balochistan province isconcerned, the northern Balochistan, namely theSulaiman Range and its subsidiary ranges in theZhob and Musa Kheil area, has yielded some of theearliest relics of the stone age man in the form ofstone tools, and rock art, both engraving andpaintings, which indicate, that this part ofBalochistan have been inhabited during thePalaeolithic period (stone age). These rock artpainting belong to the Gravettian culture (22,000-18,000 B.C) like those found in France, Spain andMauritania of the same period. So the northernBalochistan, where these relics are discovered,represents a fabulous conservatory of prehistorictimes, belongings not only to the heritage ofBalochistan, but of humanity.

Coming to the more recent past, but still in the StoneAge, we find village communities developing in therugged wind swept valleys and foothills inBalochistan. The time is about 7000 B.C., hereappears signs of continuous process of human activityand the hesitant steps of the communities towardscivilization, particularly at Mehargarh, (7000 B.C)Kachhi, plain Killi Gul Mohammad (5000 B.C),Periano-Ghundai, Anjira, Nal, Kulli, Dabar Kot etc.These settlements, of Neolithic, Chalcolithic andBronze Age of Balochistan preceding the Induscivilization in the greater Indus valley were the cradleof civilization on the Indo-Pakistan sub-continent.

MEHRGARH:Mehrgarh lies between the upland valleys ofBalochistan to the west and the Indus flood plains tothe east. From this place came the earliest definiteevidence yet of permanent settled agriculture. By7000 B.C Mehrgarh was already a sizeable villagecovering around six hectares- some

1000 years before the growth of urganism inMesopotamia. By 6000 B.C. it had grown to a smalltown of 12 hectares with the probable population of3000. The inhabitants lived in houses built of redmud brick, the same material they used to build thegranaries in which they stored their grain.

As well as barely and wheat, dates were also grownand soon, there was to be cotton too. They reliedincreasingly upon domesticated cattle, including thewater buffalo, rather than sheep, goat or deer, whichat that time were still wild.Society became increasingly sophisticated and whilethere is no evidence of palaces or temples, the earliestknown ritual burial grounds have been found here.The skeletons, curled up on their sides, were buriedwith grave goods including turquoise beads believedto have been imported from Turkmenia, now calledTurkmenistan.

In short, for centuries, the life in Balochistan own toits geographical location, has been affected byturbulent empires, expanding cultures and great worldreligions. The province of Balochistan has alwaysbeen at crossroads of civilizations, absorbing what itcould, initiating some cultures, preserving others. Theresult is that, today, Balochistan can take pride in itsrole of safeguarding the remnants of early culturesthat have left their abiding mark, and thecircumstances which arose in their wake have leftBalochistan rich in ethnic variety and culturalheritage.

The cultural landscape of Balochistan is still richtoday manifested in tribal arts and crafts, music anddance. Nomadism is still a prominent feature of lifeamong the Baloch and Pashtoons with distinctiveseasonal patterns and traditions.


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SIBI: “TRADITIONAL CULTURAL SPACE”

From the above it is evident that Kachhi plans situatedat the mouth of Bolan Pass boasts of one of very firstcivilization of the world. The town of Sibi is at adistance of less than 100 km from Mehrgarh.To quote few examples of the continuity of Mehrgarhcivilization, the following are pertinent:-

1) Mehrgarh is the site where domestication of ani-mals was initiated. The entire area is comprisedof nomadic settlements engaged in herding andpastoralism.

2) Bulls had a special place in the story of Mehrgarhas observed from the excavations and figurines.

3) The type of pottery of Mehrgarh is still made, deco-rated and used in Sibi establishing a linkage be-tween the present and the past. Speaking aboutcontinuity of dress, Balochi women have special-ized in typical embroidery wherein Mehrgarhmotifs and sketches are prominent.

4) Musical instruments made of clay etc. are still inuse in the area.

5) People have a special sense of pride and sensitiv-ity with regard to their ancestors having foundedthe Mehrgarh civilization.

6) Town of Sibi therefore, boasts of proud inherit-ance of above as well as numerous links that de-note continuity.

7) Reverence of this tangible and intangible heritageis intensively found in the oral tradition of peopleand is expressed in folk songs, folk-tales, dramaticperformance, music, particularly in Nad-o-surwhich is a long musical performance by a duo

consisting of a vocalist and a flute player.

During 15th Century hundreds of Baloch nomadictribes were led by a famous tribal chief, Mir ChakarKhan Rind as their leader. Remnants of his Fort arestill found in a dilapidated shape in the heart of Sibi.The cultural space of Sibi is a proud traditioncelebrating contribution of nomadic people towardsfolk singing, story telling, folk and traditional musiccontests, dance competitions as well as animalrearing.

Classical Balochi literature is fraught with narrations,depicting times of Mir Chakar Khan Rind who hadpioneered the Sibi cultural space mainly withobjectives such as:-

1) Celebrating the versatile achievements of domes-tication of animals, at Mehrgarh.

2) Sale/marketing of various animals i.e. bulls, horses,camels, sheep, goats particularly groomed for fes-tivals.

3) Convening of tribal “Jirga” (Assembly) to addressand resolve tribal disputes.

4) To promote music, dance, story telling, traditional

sports etc. and reward the best.

In this way the tribes were offered an opportunity ofreviving their memories of the past as well as engagein healthy competition with regard to promotion ofcultural heritage.Mir Chakar Khan Rind is extremely revered/praisedfor his bravery, virtues, leadership guts and wisdom.However, he is shown as villain in the love-story of“Hani Shah Murid” wherein, relying on his powerand status Mir Chaker tried to snatch away belovedHani from legendary Shah Murid. Even today on theoccasion of Sibi festival the folk singers attract peopleby eulogizing Chaker’s virtues but condemning hisvillainish deed of seizing sweet heart of Shah Murid,Hani. Balochi language has received considerablebulk of literature through the story of Hani - ShahMurid which has now been transcribed and publishedin volumes. It consists of best of Balochi songsmostly sung by the singers of all generations.

As the time goes on Sibi keeps on dancing with joyat its traditional platform earmarked by Mir ChakerKhan as the Sibi cultural space. It throngs as the proudcustodian of a heritage continuously preserved bythe people themselves since Mir Chakar’s time (15th

century).

Sibi’s cultural space continues to serve people eventoday as in the past. Each year in the same month(February) Sibi celebrates and gets festive, as legendsuggests, at the time “when the flowers peep fromthe buds and look for a glimpse of “Shah Mureed’sfiance, Hani.

It is therefore, presented as a potential case withregard to cultural space from Pakistan.

Pakistan is paying maximum attention to itsinvaluable heritage. In a recent Seminar held atIslamabad in collaboration with UNESCO, a plan ofaction for protection of tangible as well as intangibleheritage was thrashed out leading to formulating a


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National Cultural Policy. The Seminar recommendedthat intensive forum discussions be held at provincialcapitals involving people from all walks of lifeparticularly cultural experts who could contribute onthe subject better. The exercise will culminate into acomprehensive plan of action in protecting,preserving, restoring, and safeguarding country’shuman heritage. The task is expected to complete inthe near future, with the help of UNESCO.

SUGGESTIONS: towards rational culturalpolicy.

• Culture be linked with education.• Awareness campaign be undertaken to sensitize

people. Media can play a vital role.• Development process must respect cultural heri-

tage.• Culture and the Heritage be shifted from periph-

ery to the core of government policies.• UNESCO should help member countries in map-

ping, and revival of cultural property.• Education and proficiency in mother tongue can

inculcate much trust among children about theirvocabulary of heritage.

• Countries should share their success stories witheach other on heritage matters, both tangible aswell as intangible.

• Cultural institutions in private sector be helped incapacity building in their goals of cultural promo-tion.

• Civil society be adequately involved in promo-tional activities.

• Illegal trade and plundering activities of culturalmaterial be effectively curbed.

• Research studies, seminars, workshops be orga-nized regarding protection and preservation of tan-gible as well as intangible heritage with the assis-tance of UNESCO.

• UNESCO should have a role in pursuing coun-tries for improving/updating their cultural policiesgiving equal importance to intangible heritage.

PALAU

Mr. Howard CharlesChair, Music DepartmentPalau Community College

Theme: “Safeguarding IntangibleCultural Heritage in Education (Formaland Informal)”

IntroductionThe Republic of Palau, an archipelago consisting ofabout 300 islands, became an independent nation onOctober 1st, 1994 in part with the endorsement of theCompact of Free Association between Palau andUnited States of America. Geographically, the Re-public of Palau is a part of the Micronesian Islandgroup, and is located in the Western Pacific Oceanjust above the equator. The main islands of Palauare volcanic islands while most are rock islands,raised limestone islands, and atolls with a collectiveland of almost 200 square miles. With an approxi-mate population of 20,000, only nine of the islandsare inhabited. Two thirds of the population reside inthe capital, Koror, a mass of land approximately 7.1square miles, and where most commercial, industrial,and governmental activities are centered. Aside frombeing a historical site during World War II, the Re-public of Palau, with its lush vegetation, clear wa-ters, and white sandy beaches, has also been namedone of the top ten wonders of the world. This type ofglobal recognition has made the tourism industry themajor contributing source of revenue for the Palauaneconomy.

Brief History of Education in PalauAside from an economical perspective, Palau, similarto most of her sister islands in the Pacific, has had itsshare of the journey of both formal and informalforms of education. Evolving from traditionalgoverning villages and alliances, Palau has politicallyundergone a succession of foreign colonial countries,beginning with Spain, Germany, Japan and finallythe United States. Prior to various foreignadministration of Palau, informal (traditional)education was more of a family matter and teachingwas categorized according to the different types oflabor and gender. For example, a father taught hisson such roles as fishing, hunting, and carpentry,while the mother taught her daughter skills ingardening, weaving, and cooking. Other socialactivities were taught to young men and women in


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wider context to instill in youth the spirit ofcommunal cooperation.

At the same time, our history notes that some of thevery earliest forms of formal education were duringthe Japanese administration which were forms ofschools known as the kogakko. These were Japanese-run public schools, the first ever to be founded inMicronesia, and which offered three years ofelementary education to Micronesians, with asupplementary program of two additional years forfar more advanced students. Another similardevelopment during this period was a WoodworkersApprentice Training School known as the MokkoTotei Yoseijo. Palau currently has in place a Westernmodel of educational system that incorporates allbasic subjects including culture. This system alsoutilizes mechanisms to streamline the subjects to belacking any gaps from grades K-12. PalauCommunity College, the only local institution ofhigher education, has adjusted its courses to link withthis system as well in the hope that the learningoutcome is consecutively continuous and thorough.

Intangible Cultural Heritages in PalauPalau, like most Pacific islands, has its own uniqueensemble of cultural heritage. There are the woodcarvers, musicians, dancers, medicinal healers,designers, story tellers, etc. These are the ones whoshape our identity, our cultural heritage, which isunique among the rest of the world. Palau’scompilation list of intangible heritage can seemendless, but here several I have listed as variousexamples.

1. Legend carvings on the abai (traditional commu-nity meeting house)

2. Itabori or story boards – these are carved piecesof wood that tell a story such as a legend, myth, orPalauan proverb.

3. Chesols, Rebetii, Delang, Boid, Kerdekill, Kesekes,Kesekes rar Modekngei, Derubesbes, Kelloi, Lall,Derebechesiil – The different genres of traditionalPalauan music.

4. Delal a Ngloik and Ruk – Traditional women’sdance and men’s war dance.

5. The art and technique of building a Kabekel orwar canoe.

6. Omerad el Kar – the knowledge and techniquesof traditional medicinal plants.

7. Kelulul a Beluu – the ‘whispers’ or laws of theland.

8.Tekoi ra Daob - the ways knowledge of the sea.

9.Tekoi ra Dellomel – the knowledge and techniquesof plant cultivation.

10. Ngasech – traditional woman’s hot bath and me-dicinal therapy to rejuvenate the female body toits youthful state after conceiving her first born;

most commonly practiced Palauan custom

Traditional Palauan Chants - Chesols, Rebetii,Delang e ma BoidBeing a musician by choice and profession, I wouldlike to concentrate on traditional Palauan chants. ThePalau Society of Historians, a group of local expertsworking with the government’s Ministry of CulturalAffairs, released a publication on Palauan culture thatcategorized traditional Palauan music into twelvedifferent genres. Each genre has its own uniquemusical, aesthetic, and social significance. These fourtraditional chants are the only ones that are publiclyperformed today in Palau. They are also the mostcommonly taught within our educational system,whether it be a formal or informal setting. In Palautoday, chants are only performed at specific socialevents, as mere symbols of what we once were, withthe exception of the commonly yet sporadicperformances of chants at funerals, which bear morecultural gravity.

Accomplishments in Formal EducationThe Palau Ministry of Education within the PalauNational Government structure has a culturalcurriculum profile built into its educational systembeginning from primary to secondary grade levels.The ministry also sponsors an Educational AwarenessWeek, which is a celebration of education throughculture for all primary and secondary schools.Students learn and perform traditional andcontemporary music and dance through theinstruction of their teachers or by the utilization ofvoluntary community experts. This program has beenvery successful and has also been instrumental in the‘renaissance’ of traditional music among thecommunity.


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At Palau Community College, the only post-secondary institution of higher learning in Palau, wehave developed several courses in Palauan history,culture, and music. These were developed in thepast couple of years, in anticipation of our generaleducational requirements as an accredited institutionby the Western Association of Schools andUniversities, and with the vision for the developmentsin our education and music programs.

In our own music program, we have always beenconcerned with the pursuit of safeguarding andstrengthening our intangible cultural heritage, eventhough we didn’t even know how to go about it. Thestudy of traditional Palauan music has always beeninterwoven into our music courses. Consequently,the students enrolled in these courses, have alwaysbeen encouraged and required to seek out and gatherthe hidden intangible knowledge from local expertswithin our community. This has resulted in aninformal collection and compilation of over 200traditional Palauan chants and other forms of Palauanlegends and art forms. Although most of these chantsare in their text versions only, we frequently utilizeour local expertise to perform and teach the studentsas much as possible.

Not much has been done in documenting andsafeguarding traditional Palauan music, with theexception of the work and collections of SenseiOsamu Yamaguti. With the lack of printed materials,we continually strive to build partnerships in ourcommunity and abroad to preserve these dyingtreasures, and hope to eventually develop credibleteaching materials. To date, there is not a singlerecognized recording of Palauan traditional music ateither local, national, or international level.Therefore, we are very interested in seeking positivetechniques and financial resources to produce durablecopies of performances of our traditional chants forpreservation, safeguarding, and to ensure the transferof knowledge from one generation to the next. Oururgency is to learn, preserve, and educate theseintangible cultural heritages – particularly theChesols, Rebetii, Delang e ma Boid – before theyare eternally forgotten.

Significant Efforts of Informal EducationPalauan art and cultural have often remained off thelist of financial priorities for quite a while, to allowthe realization of envisioned economic plans andnecessary developments of national infrastructure.

In fact, as often the case, the rise of interest in Palauanart and culture at the national level has almost alwaysbeen stimulated by an external source. A classicexample would be the revival of our traditional chantboid. Dr. Osamu Yamaguti recently visited Palauwith the intention of recording a boid that wascomposed especially for him by a group ofNgaremlengui women, during his field work studiesin Palau in the 1960’s. Through this visit, a group ofwomen were called upon to learn, practice and recordthis piece. Trying to find people who knew how toperform this type of music was a challenge in itself.However inconvenient and embarrassing, the womenwere quickly motivated and enthusiastic to study andrecord this piece of music from their own country.Soon thereafter, the women were seriouslyconsidering further practice sessions to revive thisdying art form and perhaps perform this genre at theupcoming Festival of Pacific Arts.

The Olechotel Belau Fair (OBF), a cultural fair underthe Ministry of Cultural Affairs with representationof Palau’s sixteen states, has been a great success.The fair puts an effort to showcase all Palauan art.Ranging from performing arts to traditional gamesand through the widespread use of television, theawareness of our own Palauan cultural identity andheritage has been rekindled, and thus, our nationalpride. OBF was previously an annual event but soondiminished due to governmental reorganization andbudget cuts. Only during these past several yearshas it been revived in anticipation and preparationfor the 2004 Festival of Pacific Arts to be held inPalau.

The 9th Festival of Pacific Arts will celebrate andbring together the cultures and traditions of Pacificcountries as well as create not just regional but globalawareness of Pacific cultures. We are expecting tohost 30 Pacific countries with approximately 3,000participants. Such preparation awakens otheropportunities for the development of culturaleducation, preservation, and creation. And becauseof its cultural, economical, and educationalsignificance and contribution to Palau, we are indeedfortunate to host the Festival of Pacific Arts.As a member of the organizing committee for thefestival, I would like to extend our warm welcomeand shiotai to all ACCU members and friends to comewitness this magnificent portrayal and celebration ofPacific cultures. For further inquiries about the


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festival, check our website at www.palaunet.com formore detailed information.

ConclusionSimilar to most Pacific islands, in traditional Palauansociety, knowledge was and to this day a force ofpower. The possession of knowledge defined youridentity, bestowed upon you status within thecommunity, and gave the promise of wealth.However, with the tide of social and economicreforms, Palauan society has drastically changed, andthus the role of the arts and their place in societyredefined and diminishing rapidly. Our efforts ofcultural preservation in Palau are merely a scratchon the surface. Therefore, in closing, I would like toextend my heartfelt thanks and omedeto to ACCUand UNESCO for organizing such a significant andmomentous conference, and in inviting Palau toparticipate in the sharing of our cultures, ideas, andmethods for safeguarding our God given intangiblecultural heritage.

PHILIPPINES

Dr. Jesus T. PeraltaConsultant, National Commission forCulture and Arts (NCCA)

Theme 1: Effect of the UNESCO Proclama-tion of the Ifugao epic chant, Hudhud, onPreservation Efforts and National Policy

Introduction

The epic chant of the Ifugao people of the Cordillerasof Northern Luzon, the Hudhud, was proclaimed byUNESCO as a “Masterpiece of the Oral andIntangible Heritage of Humanity” in May 2001.Succeedingly, the Republic of Korea awarded theHudhud the Arirang International Prize in October2001 with a cash award of $15,000. As a consequenceof these international recognition, the Philippinegovernment, thru the National Museum proclaimedthe epic chant a “National Cultural Treasure” inNovember of the same year.

The earlier impact of the proclamation at the nationallevel has been presented in the country report of thePhilippines during the 2002 Regional Workshop forCultural Personnel in Asia and the Pacific organizedby ACCU held in Tokyo in March 2002, and availablein the proceedings.

Subsequent Developments

1. Legislation – Senate Bill No. 2715 entitled, “ACTProviding for the Protection and Preservation ofPhilippine Cultural Heritage and for Other Purposes”is now on the 2nd reading (Period of amendments),with the Committee Report No. 358 already out, atthe Senate of the Philippines. Section 3, Letter M,item 2 of this bill includes the consideration ofexpressions of intangible cultural property, andcultural space;

2. On May 1, 2003, the Hudhud epic chantingcompetition will be on its third year. There are twolevels: a) adult, and b) youth. There are twocompetition levels: a) municipal, and b) provincialamong the winners in the municipal level. The prizeshave been funded through the Arirang InternationalPrize given by the Republic of Korea.

3. A small contingent of Hudhud chanters performedin Tokyo earlier in February at the invitation of theBunkacho and the Japan Folk Performing ArtsAssociation (JFPAA).An earlier invitation byUzbekistan did not pull through due to lack of funds.

4 A full-length contemporary drama based on theHudhud by a noted Filipino playwright is on boardat the Cultural Center of the Philippines. This playwas one of the two pieces submitted to the playwritingcompetition on the Hudhud sponsored by the NationalCommission for Culture and the Arts (NCCA).

5. The 30-second TV and radio plugs to furtherpromote the epic chant produced by the NationalCommission for Culture and the Arts (NCCA)continues to be broadcasted in different programs andchannels.

6. The preparation for the Second Proclamationinvolved the NCCA Intangible Heritage Committeein the preparation of the Darangen dossier – aMaranao epic chant, which unfortunately was notproclaimed by UNESCO but was proclaimed by theprovince of Lanao del Sur as a Provincial Treasure.However, the funds from the UNESCO enabled theNCCA Intangible Heritage Committee to conductinitial research and documentation of eleven otheroral forms of traditions and cultural spaces:Buklug rites of the Subanon on Mindanaoa) Pagdiwata ritual of the Tagbanua, Palawanb) Ibalong and other forms of the Bicol Peninsula


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c) Dap-ay and Ator cultural spaces of Bontokd) Fegulukesen/Tutulen epic of the Teduray of

Cotabatoe) Tuwaang epic of the Manuvu of Mindanaof) Ulahingan epic of North Cotabatog) Tarsilas of the Maguindanao, Tausug and Maranaoh) Moriones of Marinduque; andi) death and burial practices of the Kalinga, Yakan,

Hanunuo Mangyan, Tagabawa Bagobo, Pala’wan,T’boli, Maguindanao and Sulod-Bukidnon.

j) Arakyo of Penaranda, N. Ecija

7. The project “Safeguarding and Transmission ofthe Hudhud chants of the Ifugao” was approved inthe framework of the UNESCO/Japan Funds-in-Trustfor the Preservation and Promotion of the IntangibleCultural Heritage. The implementation of the three-year action plan shall commence in February 2004.The project calls for:a) organization of project staffb) organization of the Ifugao Intangible Cultural

Heritage Sub-Committeec) Introduction of the project at the local level

(LGU’s, schools, etc.)d) Collection and documentation of data concerning

the Huhdhude) Reproduction and dissemination of multi-media

materials to libraries, cultural centers and othercultural organizations

f) creation of five (5) Schools for Living Tradition inthe municipalities of Kiangan, Hingyon, Lagawe,Hungduan and Asipulo focused on the teachingof the Hudhud to new practitioners.

8. UNESCO Convention for the Safeguarding ofIntangible Cultural Heritage

In consonance with pertinent articles in theConvention, several measures have been undertakenas follows:a) Continuing review of ethnic literature and field-

work to collate items of intangible cultural heri-tage;

b) Initiated an inventory of oral and intangible heri-tage based on literature review

c) Started the compilation of hard copies of Sum-mary Inventories

d) Structured a computer database to accommodateinventory items

ExpectationsTo be able to develop knowledge, understanding andappreciation of the intangible cultural heritage ofother people, better to understand, appreciate,

evaluate and to preserve our own.

Theme 2: Heritage Management

Introduction

The Intangible Cultural Heritage Committee of thePhilippines (ICHCP) is under the NationalCommission for Culture and the Arts (NCCA), whichis the umbrella organization for all the culturalagencies of the government. However, the IHCP isnot a true committee. It is not integral but is a functionattributed to the “Gawad sa Manlilikha ng Bayan(GAMABA)” Committee (National Living TreasuresCommittee) . The reason is that the NCCA cannotcreate a committee beyond the 22 allowed by itscharter.

In short, the members of the IHCP are also themembers of the GAMABA. There are only fivemembers: Mr. Felipe de Leon Jr., Dr. David Baradas,Ms. Susan Calo Medina who are all from the privatesector; Mr. Romeo de la, Cruz NCCA Commissionerand NCCA Consultant, Dr. Jesus T. Peralta. Thereare two NCCA staff members assisting theCommit tee : Ms. Ceci le Picache, ProjectDevelopment Officer III and Project Assistant,Minviluz C. Diesta. The ICHCP operated starting in2002 on a P50,000 revolving fund allotted to it bythe NCCA.

Identification of ICH

Using the criteria defined by UNESCO which isfurther refined in Article 2 – Definitions, No2, lettersa to e of the convention for the safeguarding of theintangible cultural heritage, and considering thelimitations of the ICHCP, there was a perceived needto prioritize due to the magnitude of the task. Thefocus of the Committee due to expediencies is asfollows:1. oral traditions and expressions2. social practices, rituals and festive events3. knowledge and practices concerning nature and

the universe4. performing arts5. traditional craftsmanship


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This prioritization considers what intangible culturalheritage forms are most ephemeral and are in gravestdanger of disappearing. The last three, being closelyassociated with tangible correlatives are less liableto immediately disappear. Another consideration forimmediate attention, among others, is the availabilityof immediate information/data about an item of ICHfor documentation. This is the reason the ICHCPinitially worked on the Ifugao Hudhud and theMaranao Darangen (for the purpose of submissionfor the Proclamation of Intangible Cultural Heritage),which are both oral expressions. Both are also inimmediate danger of disappearance due to ongoingchanges in the social structure and organization ofthe societies concerned.

Inventory/Documentation:

While the most immediate attention of the ICHCP isto respond the UNESCO call for nominations, therewas the need to be able to identify and make aninventory of existing and viable items of ICH amongthe eighty or so ethno-linguistic groups in thePhilippines. Most of what are known are found indifferent publications from multitudinous sources andneed to be collated. The first task was to go overavailable literature and identifying significant itemsof intangible cultural heritage and making a tentativelisting. At present there are some 130 pages ofroughly 2456 items of intangible cultural heritage,with thumbnail sketches, randomly collated coveringall but the four domains listed above. Simultaneously,a library is being organized.

To accommodate the expected volume of data, acomputer database, utilizing Microsoft Excel, wasorganized to facilitate the documentation of theinventory and retrieval processes. To standardize theentry of ICH items, a “Summary Inventory Form”was devised (Attachment No. 2 ), the structure ofwhich is compatible with the structure of the database.The information in the Summary Inventory Form isa more detailed brief than those mentioned in thethumbnail sketches in the initial listing, describingthe ICH item. The collection of Summary InventoryForm records will compose the hard copydocumentation of the database. Thus far there areonly eleven (11) entries in the databank. This limitednumber is due to the need for more research fordetails, personnel including man-hours, and thephysical aspect of writing and inputting the data.

Simultaneously with the above, realizing that the ideaof identifying intangible cultural heritage as definedby UNESCO, need to be clarified and explained toimplementers of the programme, an orientationpaper (Attachments 1 and 1a) was drafted andinitially distributed for additions/criticisms. Theopen-ended orientation paper contained definitionsand examples of what constitute intangible culturalheritage, including aspects of language.

Local Community Participation- The Hudhudissue:

Using the province of Ifugao that produced theHudhud as a pilot for the ICH programmers and inorder to bring the project to the grass roots, a localorganization – the Ifugao Intangible Cultural HeritageSub-Committee was organized comprised of knownexperts of Ifugao culture, key community members,and included as member the governor or hisrepresentative. With the approval of the 3-year workplan (Attachment No.1 Philippine Country Report)by UNESCO, this Sub-Committee will be re-organized this March along the lines of the work plan.

In the meantime, since 2001, the Sub—Committeehas been conducting a competition on the chantingof the Hudhud, done in two categories: 1) adult and2) youth; and on two levels: 1) municipal and 2)provincial. The municipal competitions are doneduring the annual fiestas of the towns; and then thevarious municipal winners compete in the provinciallevel during the celebration of the fiesta of the townof Kiangan on May 1 of every year. The municipaland provincial government directly participate in theorganization and implementation of the competitionprograms

At present, the ICHCP has funding to support thecompetitions for eight more sets of competition. Evenat present, though, the ICHP is planning to have theNational Commission for Culture and the Arts(NCCA) allot in its annual budget funds after theeighth year, and thereafter, to support the holding ofthe competition.

Beginning this year, five (5) Schools for LivingTradition (SLT) focusing on training Hudhud chanterswill be established in the municipalities of Kiangan,Hingyon, Lagawe, Hungduan and Asipulo. Anattempt will also be made to integrate the training ofchanters into the regular “Makabayan” courses of the


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national education curriculum, at least in the provinceof Ifugao. Full length video tapes are to be re-produced for distribution as wells as the alreadyreported 30-second video clips currently beingbroadcast in Philippine Television.

Weakness and Lapses in the Hudhud programme

I made mention in 2002 that the Hudhud is chantedspecially on three occasions: 1) during harvest time,2) during wakes and 3) during bone washing, andthat it is non-ritual. It is of course also chanted duringother social events. Critical is the fact that theHudhud is not a performance like a piece oftheatrical production. It is a social act participatedin by members of the culture. Following theUNESCO design, the Hudhud has be preserved inits context in accordance with tradition. To be ableto accomplish this, our programme should includethe development of new chanters who specialize inthis form. To increase the number of chanters, oneprogram was the annual chanting competition. Thisof course transforms the Hudhud into aperformance, and not merely a spontaneous socio-cultural event. The rationalization given then, wasto preserve and popularize the Hudhud, and topreserve it within it traditional context was to be abledevelop more people who are knowledgeable aboutthis manner of chanting. A resource person of theUNESCO present then acknowledged the necessityfor this deviation in preserving the authentic.

Another lapse in the program of preservation cameduring our of initial miscomprehension of whatconstitute the intangible aspect of cultural heritage. Imentioned in our 2002 and 2004 country reports, thata competition was held for playwrighting based onthe Hudhud, including a contemporary interpretation.One of the best entries was a modern interpretationof one of the stories chanted in Hudhud manner- donenot in the form of the chant, i .e. it was astraightforward theatrical production of one of theepisodes. This is now to be presented by the CulturalCenter of the Philippines.

I have pointed out the distinction that Hudhud is amanner of chanting of heroic Ifugao tales, stressingthe fact that it is a manner of chanting and not thestories that are chanted, reiterating yet a third timethat it is a manner of chanting stories.

While the theatrical production promotes andpropagates the knowledge about the Hudhud, it doesnot preserve the traditional form, and will probablywork in some way against the preservation of theauthentic form. The introduction of a moderninterpretation of a Hudhud episode is analogous tothe now famous Bayanihan Dance Troupe folkloricinterpretations of indigenous dances of thePhilippines The members of the Intangible CulturalHeritage Committee of the Philippines has taken thestance to welcome but not to give overt support tothe theatrical production, short of actually rejectingit, because it has distorted the authentic Hudhud form.The request of the theatrical production for a copyof the UNESCO proclamation to be used inpromoting the theatrical production was notpositively acted upon by the ICHCP

As a post script, the ICHCP in its 3-year work plan,has in 2005 an item for a theatrical production of theHudhud. It will involved the chanting in thetraditional form one episode, supported as abackground for understanding the unknown languagea choreography of the chant. As pointed out, whiletransformed into a performance, the manner of the

chant will be preserved, propagated and popularized.


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REPUBLIC OF KOREA

Dr. Sangmee BakAssociate Professor, Graduate School ofInternational Area Studies, Hankuk Univer-sity of Foreign Studies, Seoul

Republic of Korea (ROK) has been very active inpreserving and promoting the oral and intangiblecultural heritage, and has tried to share its experiencewith other countries. Since the Laws for Protectionof Cultural Heritage was first taken into effect in1962, it has been revised reflecting the changes inKorean society. Industrialization, urbanization, andglobalization have affected the circumstancessurrounding intangible cultural heritages as they havein other countries, and Koreans have experiencedboth d i ff icu l t cha l lenges and rewardingaccomplishments. Two intangible heritages fromKorea, Jongmyojerye and pansori were proclaimedas the UNESCO Masterpieces of the Oral andIntangible Cultural Heritage of Humanity in 2002and 2004 respectively.

I. Pansori: Intangible Cultural Heritageproclaimed as a UNESCO Masterpiece of Oraland Intangible Heritage of Humanity in 2003

Pansori is a composite art in which a singer (changja)tells a long folk tale with a combination of sori(singing), aniri (recitation), neoreumsae (bodyexpression) and chuimsae (exclamations), and adrummer (gosu) provides the singer with rhythmictempos. Pansori singers have to sing alone, withoutmusic, from a few hours to seven or eight hours. SoPansori could be called a “traditional Korean soloopera.” In Pansori, singing and the spoken wordconstantly alternate. When the changja sings orspeaks, he or she may open or close a fan, or act outthe actions of characters within the work. The gosuplays the drum, and at appropriate times during theperformance will utter brief exclamations (chuimsae)to heighten the interest of both the changja and theaudience. The gosu plays the role of accompanist,conductor, counterpart to the changja, and spokesmanfor the audience.

The audience participates in a Pansori performance.During the performance, the audience uttersexclamations of encouragement to the changja andgosu. Consequently, Pansori is an art form completed

by not only a singer and drummer but also the activeintervention of the audience, and an interacting artwhere there is constant emotional exchange andreciprocity between the changja and the audience,who occupy the same time and space. The jangdanrhythms of Pansori include jinyangjo (slow beat),jungmori (moderate speed beat), jungjungmori(slightly quick beat), and hwimori (very quick beat).Different jangdan are used depending on thesituation.

The term “Pansori” is a combination of ‘pan’ and‘sori’. ‘Sori’ refer to music, while ‘pan’ mean ‘a placewhere many people gather’ and ‘situation/scene’.Thus, ‘Pansori’ refers to a song sung at a place wherea large number of people are gathered. The origin ofPansori is not exactly known, but it is presumed thatit either came into being before the reign of KingSukjong at the latest, judging by the “Chunhyangga”composed by Ryu Jinhan in the 30th year of KingYeongjo of Joseon, or that it originated from the earlyJoseonÅuGwangdaesohakjiheeÅv.

It is generally believed that Pansori came intoexistence during the 17th century. During the 17thcentury Pansori was performed as an art of the people,primarily in Jeolla-do and Chungcheong-doThereafter, Pansori developed further and dividedinto schools by myeongchang, famous singers skilledin Pansori. Schools were developed according toregion and line of transmission, with the dongpyeonjeschool in the northeastern areas of Jeolla-do, theseopyeonje school in the southwestern areas of Jeolla-do, and the junggoje school in Gteonggi-do andChungcheong-do.

Pansori originally consisted of 12 madang, or works,and the length of these works was relatively short.However, the length of the works gradually increased,and only the five most literary and artistic madanghave been handed down to the present. The fiveexisting Pansori madang include “Chunhyang-ga” (alove story of Mongryong Lee and his faithful wife,Chunhyang Seong). “Simcheong-ga” (the story of afilial daughter), “Heungbo-ga” (a story of twobrothers), Sugung-ga (a witty folk tale) andGeokbyeok-ga (literature explaining the GeokbyeokWar).

As a traditional art expressing emotions of the times,Pansori is a narrative song singing of human life anda comprehensive art that contains literature, music,


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and drama. It teaches us lessons of life as well as thehumor, joy, anger, and sorrow of the Korean people.

Koreans recognize Pansori as a symbolic realizationof elegance (meot) and excitement (simmyeongpuri).There are very few similar cases in the world of anart form that expresses its message through a coarseand harsh voice, utilizes a variety of musicaltechniques and opens up a world of endless variationas these techniques blend in harmony in each passage.

II. ROK’s Plans for Future UNESCO selectionschedule

Before submitting Pansori as a candidature for theUNESCO selection, ROK had decided on a list offive intangible heritages (Pansori, Danoje, Pottery,Cheyoungmu, Jeju Chilmeori Danggut) forsubmitting in the following selection schedule in thepre-determined order. This list was made throughpublic hearings and specialist consultation process,trying to seek a consensus among members of thesociety. The criteria used for the selection reflectedthe UNESCO Guideline on the Promotion of the Oraland Intangible Cultural Heritage of Humanity.Related bodies are collaborating to preparing theapplication of each cultural heritage.

III. ROK’s System of Preserving and PromotingIntangible Cultural Properties

1. General Overview

The System of Living Human Treasures in Korea(ROK) aims to preserve and promote the Oral andIntangible Cultural Heritages. The title, “LivingHuman Treasure,” although frequently used by thepublic and media in Korea, is not an official term.Officially, it is called, “Important Intangible CulturalProperties (skill holders).” They are designated at twolevels: state-level, and city/province-level (calledintangible cultural properties). As of December 31,2002, the categories of state-level ImportantIntangible Cultural Properties were 115, and thenumber of the skill holders was 365 (for somecategories, there are more than one designated skillholders), and at the city/province level, the numberof categories was 305. The number of skill holdersat this level was not available. These intangiblecultural heritages and their holders receive financialand administrative assistance from the government,

and the Cultural Properties Administration is the mainbody of government in charge of the duties.

2. General Directions of the Preservation andManagement of Cultural Properties

1) Cultural properties must be preserved in their original condition2) Restoration of cultural properties must be con-

ducted through planning with sufficient researchand review by experts and the use of the best tech-nology available.

3) Cultural heritage must be protected from recklessdevelopment. Development must be limited to thenecessary level for preservation.

4) The preservation projects of cultural propertiesmust be conducted in harmony with their surround-ings.

3. Definition of Cultural Properties

1) According to the Cultural properties ProtectionAct, cultural properties are defined as naturally orartificially created heritages of nations, peoples,and the world which have high historic, artistic,academic and appreciative values.

2) Cultural properties are classified into four catego-ries: tangible cultural properties, Intangible cul-tural properties, monuments and folklore materi-als. Designated cultural properties are classifiedinto two types: state-designated cultural proper-ties by the Administrator of Cultural PropertiesAdministration, and city/province-designated cul-tural properties and cultural materials by gover-nors and mayors.

4. Designation and Cancellation of the ImportantIntangible Cultural Properties

1) The Administrator of the Cultural Properties Ad-ministration may, after examination by experts anddeliberation by the Cultural Properties Commit-tee, designate cultural properties, or cancel theirdesignation. When it is urgently necessary to des-ignate a cultural property, and yet there is no suf-ficient time for deliberation by the Cultural Prop-erties Committee, the Administrator of the Cul-tural Properties Administration may provisionallydesignate it. The provisional designation shallbecome ineffective if there is no regular designa-tion within six months.


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2) A governor or mayor may designate cultural prop-erties within his/her jurisdiction or cancel theirdesignation.

5. Protection and Management of State-designated Cultural Properties

(for Intangible Cultural Properties)

1) Intangible Cultural PropertiesThese are formless cultural heritages which have beeninherited through the long history of the Koreanpeople. They have high historic, academic, andartistic values and distinct local flavors. They includemusic, dance, handicrafts, folk games, rites, martialarts, and cuisine.

2) Providing Subsidies for the Inheritors of theIntangible Cultural Properties

Skill holders of important intangible culturalproperties receive subsidy for their contribution tothe inheritance and transmission of the skills.Apprentices to the skill holders and scholarshipstudents also get financial support. Holders of skillsin disadvantaged areas receive additional funds toprevent discontinuation and to provide a betterenvironment for education and transmission.

3) Providing Education for the Inheritance ofIntangible Cultural Properties

Recognizing the importance of transmittingintangible skills to the next generation, the skillholders of intangible cultural properties teach theirskills to apprentices. Well-performing apprentices areissued certification after the completion ofapprenticeship, which is intended to encourage theirparticipation and learning.

4) Supporting the Public Performances of theIntangible Cultural Properties

All individuals and organizations holding skills inthe arts field of important intangible culturalproperties gather together once a year to give publicperformances. Handicraft skill holders hold annualexhibitions to demonstrate the artistic excellence andpractical quality of traditional Korean handicrafts.The government support part of the expensesnecessary to hold these public events.

5) Building Inheritance Halls of IntangibleCultural Properties

Inheritance halls of intangible cultural properties havebeen established to secure a learning venue for the

conservation and transmission of traditional culture.Since the opening of the first Dongraeyaryuinheritance hall in 1974, about 40 have been built in14 cities and provinces up to 1999. These halls arequite useful to reach broader segments of people withtraditional arts, contributing to popularizing them.

6) Preservation of Records of Intangible CulturalProperties

Records on the skill holders of important intangiblecultural properties are produced in various formatsranging from books, audio discs, documentary filmsfor safe preservation and transmission. The data areprovided for academic research as well.

7) Folklore MaterialsFolklore materials refer to things that are deemednecessary to understand Korean ancestors’ lifestyle,such as clothing, food, house, work, belief, customsand annual special events, and tools and buildingsused in those events.

IV. Relevant Government Bodies

1. Cultural Properties Committee

The Cultural Properties Committee operates withinthe Cultural Properties Administration to research anddeliberate on the following matters concerning thepreservation, management and utilization of culturalproperties.

1) Designation or cancellation of a State-designatedcultural property;

2) Designation or cancellation of a protecting struc-ture or protected area for a State-designated cul-tural property;

3) Recognition or cancellation of a holder or a holding body of an important intangible cultural

property;4) Orders for substantial repair and restoration of a

State-designated cultural property;5) Permission to change the present shape of a State-designated cultural property or to transport

it out of the State;6) Orders restricting or prohibiting certain actions

and establishing, eliminating or removing facilities in order to preserve the environment of

a State-designated cultural property;7) Purchase of a State-designated cultural property;8) Excavation of a buried cultural property;


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9) Other special or technical matters considered asimportant to the preservation, management or

utilization of a State-designated cultural property;10) Recommendations by the Administrator of Cultural Properties Administration concerning the

designation and management of a City/Do- designated cultural material; and11) Other matters presented for discussion by the

Administrator of Cultural Properties Administra-tion concerning the management of cultural

property.

Sectional committees are established within theCultural Properties Committee according to theclassification of cultural properties. Among the foursectional committees, the Sectional Committee IVis in charge of the intangible cultural properties.

Current Members of the Sectional Committee IVof the Cultural Properties Committee (as of April5, 2003) – 12 members in total

1) Shim, Woo-sung (Chair of the Sectional Committee), age 67, folklorist, Director of Gongju

Museum of Folkloric Plays2) Gang, Gyung-sook, age 61, professor (history of

Korean pottery and ceramics), Department of Archaeology and Art History, Chungbuk National

University3) Guak, Dae-ung, age 60, professor (wood-carving,

furniture design, color), School of Design, HongikUniversity

4) Kim, Jihi, age 62, professor (fabric dyeing, fabricand ornaments), Dean of the Graduate School ofDesign, Daegu Hyosung Catholic University

5) Baek, Dae-ung, age 58, composer of Korean traditional music, Dean of Traditional Arts,

Hankuk University of Arts6) Kim, Munsuk, age 74, Korean traditional dancer,

Dean of Seoul Dancing Academy7) Shin, Changyun, age 62, folklorist, senior staff

writer, Segye Daily8) Yi, Sungchun, age 65, composer of Korean traditional music, professor at Hankuk University

of Arts9) Yi, Jongchul, age 57, folklorist, Director of National Folkloric Museum10 Yim, Dawnee, age 57, professor (folklore-folk-

loric arts, folk beliefs), Dongkuk University11) Chung, Haejo, age 56, professor (handicraft -

lacquer ware, shell inlaying), Department of Arts,Baejae University.

12) Kim, Ogjin, age 66, traditional dancer, formerlyprofessor at Hanyang University

Note: The internal policy of the Cultural PropertiesAdministration is that they recommend the committeemembers based on the skill and qualification,seniority (above 50 years of age), and reputationamong colleagues in the field. Gender balance andproper distribution among varies fields of intangiblecultural properties are also considered important inrecommending the committee members.

2. Cultural Properties Administration (CPA)

Cultural Properties Administration is a sub-ministriallevel agency of the central government of Korea. TheAdministration is responsible for the preservation andutilization of cultural properties.

Responsibilities of the CPA

1) Preservation of Original Shape of CulturalProperties and Cultural and Historic Sites

The Cultural Properties Administration is engagedin a wide range of activities and programs forscientific and effective management of culturalproperties including the development of better waysto excavate and study buried cultural properties,studies of ancient works of art, scientific conservationof relics, effective use of high-technology equipmentfor research and training of restoration and repairpersonnel.

2) Better Understanding at Home and Abroad ofKorean Culture Through Cultural Properties

The Cultural Properties Administration runs theCultural Properties School, produces and distributesCD-ROMs and carries out a number of programs tohelp the people better understand traditional Koreanculture through cultural properties. On the basis ofthese activities it is making effort for globalizationof traditional Korean culture, so that the world maybe able to better appreciate it.

3) For Better Appreciation of Korean CultureAbroad

The Cultural Properties Administration, incooperation with the Korea Foundation, is makingsurvey of the Korean cultural properties in foreigncountries. In an effort for the globalization of Koreancultural properties, Bulguksa Temple and SeokguramGrotto(1995), Depositories of Tripitaka Koreana


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Woodblocks at Haeinsa(1995), Jongmyo RoyalAnces t ra l Shr ine(1995) , ChangdeokgungPalace(1997), Hwaseong Fortress(1997) were listedon the UNESCO World Heritage List.

V. Designation of the Important Intangible Cul-tural Properties

There are two different paths for intangible culturalproperties to be evaluated for a designation asImportant Intangible Cultural Properties (IICP). Forthe fields of intangible cultural properties that arecommercially less successful, and hard to draw publicattention, applications are solicited throughnewspaper advertisements.

1. Application by recommendation: the followingpeople or bodies can recommend intangible culturalproperties to be evaluated for a possible designationas Important Intangible Cultural Properties – theAdminis t rator of the Cultural Propert iesAdministration, City mayors, Governors of Provinces(Do), Cultural Properties Committee members,organizations of the holders of the intangible culturalproperties that are already designated as the IICP.

Procedure

1) A recommendation is made by an appropriateperson or organization.

2) Literature research and specialist consultationare made.

3) Within the Cultural Properties Administration,it is evaluated whether the application is worthyof further consideration based on the artistic,academic, and historic value of the intangiblecultural properties. If it is decided to takefurther steps, an investigation team is formed.The team includes at least two specialists inthe field, and at least one should be a memberof the Cultural Properties Committee.

4) The holder of the proposed intangible culturalproperty is evaluated. A nationwide researchis also conducted on the proposed field ofintangible cultural properties.

5) Based on the field research by the investigationteam, a report is written

6) The matter is evaluated by the CulturalProperties Committee (Sectional CommitteeIV) and put on the government’s official newsbulletin for 30 days. During this period

opinions from field specialists are heard on thepossible designation.

7) The Committee meet again to make finalrecommendation to the Administrator of theCultural Properties Administration.

8) If it is determined as such, a designation is madeby the Administrator and this is put on thegovernment’s official news bulletin again. Thecertificate of designation is awarded to theholder(s) of the imporatnt intangible culturalproperty.

2. Self-recommended applications by theholder(s) of the intangible cultural property

Procedure

1) The holder(s) submits an application to the Cultural Properties Administration in person.2) The application is first evaluated by the City/Province branch of the Cultural Properties

Administration.3) If it is assessed to be worthy of further steps, the

intangible cultural properties are either designatedas City/Province-designated Intangible CulturalProperties, or recommended by the City Mayorsor Provincial Governors to be evaluated for a

designation as the State-designated Important Intangible Cultural Property.4) For the applications sent to the State level designation, the Cultural Properties Committee and

the relevant people and bodies work on the investigation, deliberation, and evaluation whose

procedure is the same as specified under Application by Recommendation.

Note: In the appendix section of this report, see theactual examples of newspaper advertisementsoliciting application, application materials, therecommendation by City/Province to the State-levelcommittee, and the final decision made by theCultural Properties Committee.


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Appendix 1

An example of solicitation for application(newspaper advertisement put in major dailynewspapers)

December 1998Notice for an Application for Intangible CulturalProperties (traditional handicrafts)

1. Solicited fieldsLeather handicraftPottery and ceramicsMetal handicraftLacquer workPaper makingWood handicraftHandicraft with paperDrum makingDyeingFurniture makingJadestone workFabric making

2. The applications can be made by individuals,organizations, and institutions

3. QualificationsThe applicants should demonstrate historic,academic, and artistic value of theproposed intangible cultural proeprties, and havelocal distinctiveness. They should satisfy thefollowing conditions as well:

1) The skills should have appropriateness, authen-ticity, and nationalistic characteristics as traditionalhandicrafts.

2) They should be traditional handicraft skills usingtraditional materials and skills.

3) The skills should be in danger of disappearing.4) The applicant should demonstrate a high level of

skills.5) The applicant should take the traditional handi-

craft as his/her career, and possess a sense of com-mitment

4. Time and place to submit the applications

5. Methods of submission: in person or by mail

6. Required documents

1) application form2) original family registration3) current residence registration4) reference and supporting materials

Appendix 2

Example of an application

Name: Bak, Han-jong (age 60)Field: Traditional Iron Bell CastingQualifications: Mr. Bak has made several large-scalebells to be installed at well-known public sites,including the Independence Hall and major Buddhisttemples. Since his graduation from elementaryschool, Mr. Bak has devoted his entire career to thecasting of iron-bells.

Supporting materials:1) Photographs of Mr. Bak’s bell-making process2) A letter of recommendation from a professor emeri-

tus at Seoul National University.

The evaluation results:The City/Province level Cultural PropertiesCommittee decided that the Mayor of Busanrecommend Mr. Bak to be evaluated at the State-levelCultural Properties Committee. Later, the Committeedecided to designate Mr. Bak as the holder of theImportant Intangible Cultural Property in metal bellcasting.

Appendix 3

Cultural Heritage Charter of the Republic ofKorea

A nation’s cultural heritage embodies its intellectualand spiritual contributions to the civilization ofmankind. Cultural properties, whether tangible orintangible, represent both the essence and the basisof national culture.

Our Korean cultural properties are even more dearto us because they have survived various unfortunatechapters of our long history. Our ongoing efforts tounderstand, explore, and nurture this cultural heritagedeepen our love of our country and of our fellowcountrymen.

All of us must work together to protect our historicrelics and their surroundings from being damaged or


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SRI LANKAMs. Waidyawathie RajapakseSenior LecturerInstitute of Aesthetic Studies, Colombo, SriLanka

Theme: Protecting the Vanishing IntangibleCulture of Sri Lankan Dance

destroyed, since once damaged cultural propertiescan never get back their original condition.

We thus proclaim this Cultural Heritage Charter,committing ourselves to the supreme task of handingon to future generations our spiritual and physicalassets as they were handed down to us by ourancestors.

- Cultural properties must be preserved in their origi-nal condition

- Cultural properties, as well as their surroundings,must be protected from indiscriminate develop-ment.

- Cultural properties must never be destroyed, sto-len, or illegally traded under any circumstances,because they are beyond material value.

- The value of our cultural heritage must be taughtand widely propagated through education at home,in school, and in society.

- All of us must contribute to preserving, develop-ing, and transmitting our glorious national culture.

December 8, 1997Cultural Properties Administration,Republic of Korea

A number of ritualistic methods have been employedin order to control sicknesses afflicting communitiesthat lived during prehistoric times, diseases afflictingdomesticated animals and to bring prosperity throughagriculture. The rituals were based on the planetarysystem alongside demon and deity concepts. Therituals which composed of dance forms are normallytermed in the following manner; Those based ondemons are known as “Yak Thovil”, those based onthe godly masses, “Madu Shanti karma” and thosebased the nine planets are termed “Bali ShantiKarrma”

The face that the system of Western Medicine wasrelatively unpopular and that the masses had anundeniable faith in the healing capabilities of thetraditional rituals established the conventional formof dance on firm ground.

Ritualistic procedures and dance forms encompassdrumming, decorative art, folk instruments and songliterature. The expansion of Buddhism in Sri Lankaalso influenced dance forms as a method of worship.Sri Lankan dance has a history of over 2,500 years.Based on the geographical region of origin, danceforms can be categorized as Up Country, LowCountry, Sabaragamuwa, Uva and Kandy. Givenbelow are summaries of the ritualistic procedures ofUp Country, Low Country and Sabaragamuwa dancetraditions which are the more popular categories atpresent.

Ritualistic Procedures of Up Country DanceTraditions

1. Kohomba Yak Kankariya 2. Vali Yak Mangallaya 3. Ruppa Yakuma 4. Kadavara Kankariya 5. Kotahalu Yagaya 6. Gam Maduwa 7. Pindum Maduwa


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8. Panduru Venkireema 9. Pandan Doloha Deema 10. Goda Ailaya Pideema 11. Kadawara Cotii Pideema 12. Bairava Pideema 13. Kiri Amma Pideema 14. Sokari Nadaganra 15. Bali Yagaya

Ritualistic Procedures of Low Country DanceTraditions

1. Gam Maduwa 2. Devol Maduwa 3. Poona Maduwa 4. Gini Maduwa and Dama Maduwa 5. Rata Yakum Yagaya (Riddi Yagaya) 6. Kiri Amma Pedeema 7. Kol Mura Yagaya 8. sohon Kumba Yagaya 9. Suniyam Yagaya 10. Maha Sohon Yakuma 11. Kalu Kumara Yagaya 12. Gara Yakuma 13. Bairava Pideema 14. Saruu Yakkuma 15. Sanda Kinduru Nadagama 16. Kolam Maduwa 17. Bali Yagaya

Ritualistic Procedures of Sabaragamuwa DanceTraditions

1. Pahan Maduwa 2. Gini Maduwa and Dana Maduwa 3. Devol Maduwa 4. Mangara Maduwa (Kiri Maduwa) 5. Kumara Samayama 6. Maha Sohon Samayama 7. Dehi Thovilaya 8. Sanni Yakum Yagaya 9. Bairava Pideema 10.Kiri Amma Pideema 11. Kkol Mura Yagaya 12. Bali Yagaya

Buddhist Art of Dance

1. Suvisi Vivarana Netuma 2. Sat Sati Netuma 3. Pan Salis Vas Netuma 4. Daily Ritual Drumming

5. Drumming on Full Moon 6. Dora Koda Asna Drumming and Dancing 7. Drumming at the Alut Sahal Mangallaya 8. Drumming and dancing on Krti Mangallaya 9. Drumming and dancing on Esala Mangallaya

All these dance and drumming forms werecontinuously carried out by tradition. It is the beliefof the modern day dancers and drummers that thesesystems were established under the patronage ofKings who ruled the country before colonization.Traditional teachers of arts taught without anyfinancial gain. The teaching method was at theteacher’s pleasure being exchanged in return forchores done by students both at the teacher’s houseand fields. The students were forced to memorizeall the drumbeats, stanzas, charms and otherstatements. This was time consuming and one whowanted to pursue dance was forced devote nearly twodecades of his life to the teacher. Meanwhile thestudents got a chance to visit rituals with his master,giving him the chance to observe the associatedactivities.

Since this national heritage would be preserved forposterity amidst the challenges caused byglobalization process, the Government of Sri Lankais taking necessary steps to safeguard the traditionsof drumming and dancing. The Cultural Centreswhich were sponsored by the Ministry of Culturefacilitate the young generation to study the traditionalarts. The Festival of Dance organized by the DancingPanel of the Ministry of Culture was a landmark inthe history of Sri Lankan dancing. It was interestingto see more than 3,500 young players parading thestreets of Colombo last December in an attempt topromote and preserve the intangible dance cultureof Sri Lanka.

For the first time the young Tamil dancers arrivedfrom the war torn North and East of the Country toColombo, creating an indelible impression in theminds of the spectators. The resumption of peacenegotiations which has been temporarily disruptedat present, would act as a catalyst for theamalgamation of cultural know how by the Sinhalesemajority and the Tamil minority.


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sea are in the west and north of the country. In thenortheastern part some peaks of the Tien Shan andthe Pamirs (Roof of World). Central Asia mountainsare up to 7000 m high. They are covered by everlasting snow and ice in the arctic cold; the numerousgorges and canyons cut the mountainous slopes, withmountain rivers rushing down the slopes. Diverselandscapes are viewed in the plains of valleys of therivers Amu-Daria, Syr-Daria, Zarafshan, Kafirnihonand Vakhsh.

Tajikistan is famous for the diverse climate, which ischanging by the altitude: subtropics (Vakhsh valley)in desert plains, steppe foothills, valleys of northernand southern Tajikistan, and almost arctic climate inPamir highland. In general, the climate of Tajikistanis dry, severe continental with short winters and hotsummers.

The territory of the Republic is divided into 4 largeadministrative and territorial regions: two oblasts -Sughd and Khatlon, one Gorno- BadakhshanAutonomous Republic (GBAO) and Regions ofRepublic Subordination.

Tajikistan is a country with enormous potential, witha rich cultural heritage, a population of more thensix million people, high human capital and anemerging democracy.

The Republic of Tajikistan became Independence on9 September 1991. But in spite of short time beingindependent Tajikistan has a very rich ancient historyand culture.

We are very honored by the fact that Shashmaqomwas proclaimed as “Masterpiece of the Oral andIntangible Heritage of Humanity” by UNESCO in 7November 2003. After that through Mass media wasproclaimed about this good news and had very goodresonance in Tajikistan among population: officials,musicians, scientists, students, etc.

1) Why and how the particular culturalexpression/space was selected

As I mentioned Tajikistan are a very rich with itsOral and Intangible Heritage. And Shashmaqom isone of the ancient oriental traditional musicalheritages of the Tajik people, which was the maincandidature for the Proclamation of the Masterpiecesof the Oral and Intangible.

TAJIKISTAN

Ms. Munzifakhon BabadjanovaSecretary-Genral, TajikistanNational Commission for UNESCO

Theme: COUNTRY PRESENTATIONMASTERPIECES of intangible culturalheritage of Tajikistan

First of all permit me to renew my thanks toorganizers of this very important and fruitful RegionalMeeting in Asia and Pacific on Promotion ofSafeguarding Intangible Cultural Heritage and towhom who extended such a warm welcome to all ofus.

It is a great honour and a real pleasure for me toparticipate in such forum.

My especial thanks to Japanese Government andJapan Funds – in Trust Cooperation for their regularsupports, kind attention and development of theCulture and Heritage of the Tajikistan.

I would like to note only one of the examples: inNovember 2003 from the side of the JapanGovernment and Minister of Foreign Affairs of theRepublic of Tajikistan was signed an agreement abouta presenting a grant for the equipment to the NationalMuseum of Antiquates ($ 460 000 - 45 000 000 JPY).

Tajik says: Better one time to see, than 100 to listen.And today I really stay richer because I could to see,to listen and to know better your Intangible CulturalHeritage. Thank you.

Let me to start my Country Presentation with somewords about the Republic of Tajikistan.

Tajikistan is situated in the south- eastern part ofCentral Asia. Its area is143, 1 thousand square kilometers. The countrystretches for 700 km from west to east and 380 kmfrom north to south and bordered with Uzbekistan,Kyrgyzstan, Afghanistan and China.

Mainly mountains cover Tajikistan; they constitute93% of its territory. Deserts and semi-deserts of theTuran plain in the west gradually turn into hills andfoothills. The ranges of Zarafshan, Turkestan, Hissarand Kuramin mountains on 3000 altitudes above the


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Shashmaqom is not only a bright example of orientalclassic music, but also a great achievement ofhumanity in the sphere of music. This music that canbe compared to the tremendous architecturalconstruction has been enriching the spiritual life ofmillions of people since XVIII century. Shashmaqom(from Tajik-Arabic: “Six maqoms”) exists as multi-layer and integral phenomenon. Its integrity isexpressed in structural links and co-relation of all itslayers and elements. Consequently, Shashmaqom isfirst of all strongly defined system of musicalexpressions.

In this light the Shashmaqom appears as art, aphilosophical credo that inspires spiritual reflectionand enjoyment of divine beauty expressed in sound.It encompasses a vast array of ideas and formsembodied in the interweaving of melodies, whereflights of fancy are present side by side withrationalism. In this synthetic basis, combining musicand poetry and dance, the most important organizingprinciple is precisely the musical attributes harmonicstructure and rhythm.

Shashmaqom being one of the forms of maqom wasformed in and came down to us in music of variousnations of Central Asia and particularly Tajiks andUzbeks. Based on the great data bank accumulatedand systematized by contemporary musicologists,using new scientific methods, scientists reachedsignificant success in research of modes basis ofShashmaqom. Further progress of science in thisdirection depends on how deeply and broadly willbe valued and researched the scientific and culturalheritage of the past and how effective will be thesafeguarding works. The safeguarding activities arenot just recording of music, but mainly it is arevitalization of Shashmaqom as social process inthe life of community.

From the point of view of musical logic, the maqomis a complex, self-organizing system. It is a world ofsounds and sound relations, expressed in melodic,rhythmic and constructive modules with their ownsemantics. In structure and logic, maqoms are one ofthe greatest phenomena in monodal music.

The maqom entails many varied musical ideas andforms that are difficult to explain in everydaylanguage, and where flights of the imagine combinewith rationality. It is a synthetic art, including vocaland instrumental music, poetry. The latter is not a

mere afterthought, but deeply penetrates the natureof the maqom.

Shashmaqom’s philosophy is closed to philosophyof Tajik-Persian classic poetry. It appeared not onlyin images and way of thinking, but even in its basicmorphological and syntactic principles of structureand process of rhythmical and melodical organizationtoo. Nevertheless Shashmaqom is the highest formof musical thought and formed own basic principles.

The phenomenon of Shashmaqom can be bettercomprehended and understood by learning the historyof art. The first question on this way would be “Whatis maqom?”

For example, the Arabic term “maqam” has severalmeaning such as “place”, “cord”, “level”, “degree”.As a musical term, it has a wide range of meanings:step, harmony, harmonic system, mode, musicalwork, genre, collection, unifying sections, divisions,cycles. According to Dr. Iskhoq Rajabov(Uzbekistan), the original meaning of the word“maqom” is “the place of discovering the sound onthe finger-board of string instrument” (“ligature”).Now Tajik term parda mostly is used in this originalmeaning.

2) Difficulties faced during the selection of thecandidature

Of course existed difficulties faced during theselection of the candidature (short time, less ofexperience for the preparation candidature files etc.).

On May 2000 Shashmaqom as the Traditional Musicof the Tajik people was presented to UNESCO HQby the Tajikistan National Commission for UNESCOtogether with organizations responsible in thegovernment involved. But for the various reasons ithas not been developed to the list of masterpieces ofthe oral and intangible heritage of humanity.

During the 32nd Session of the General Conferenceof UNESCO in Paris between the delegations ofTajikistan and Uzbekistan with the participation ofthe UNESCO staff have been discussed themultinational project “Shashmaqom” that has beenproposed within the framework of the IntangibleHeritage programme by the Republic of Uzbekistan.After looking through of all the aspects and points


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of the project, Tajik experts in short time madeadditional correcting as it is project of very importantimpact for our region and “Shashmaqom” is anunseenable part of the cultural heritage of the Tajikpeople.

Therefore with the government’s agreement and otherresponsible institutions we prepared a common,multinational project proposal of “Shashmaqom”with the participation of scientists, musicians andmusicologists from both Tajikistan and Uzbekistan.

3) Current situation the implementation of theAction Plan

Concerning the current situation regarding theimplementation of the Action Plan is that it is underthe development. National team of experts starts toimplementation of Action Plan. Parallel with thepreparation work of the Action Plan in Tajikistan on27th February 2004 celebrating 100 anniversary of oneof the famous Shashmakom master (ustod) Mr.Sakhibov Sh. And at the end of March Ministry ofCulture of the Republic of Tajikistan with the supportof Open Society Institute in Tajikistan (SorosFoundation) is organizing Festival of Falak.(Falak - the cycle complicated professional musicalArt of mountainous Tajiks with vocal andinstrumental kinds. There are “kulobi” and “pomiri”Falaks with different status of jenre: pomiri falak isfolklore’s jenre and kulobi falak – professional one.State Ensemble of “Falak” was formed by the Decreeof the President).

Step by step with involving the scientists, musicians,histories and masters of Shashmakom for theimplementation of the Action Plan for preservationof such unseenable expression Masterpiece.

4) Other heritage that was consider forcandidature

Republic of Tajikistan is very rich with its historical,cultural and natural heritages. There are a lot ofheritages, ancient languages, dialects, folklore whichcan be included to the Proclamation of Masterpiecesof the Oral and Intangible Heritages of Humanity.

There are many forms of Intangible cultural heritagein Tajikistan. However, prompt action to preserve thisintangible cultural heritage is need because most ofit is in danger of disappearing due to rapid social

changes. Recently, increasing attention has been paidto intangible cultural heritage and the importance ofpreserving it. How to implement effective activitiesfor the presentation and promotion of intangiblecultural heritage is a common issue for the countriesin the region.• Falak – the cucle complicated professional musi-

cal Art of mountainous Tajik with vocal and in-strumental kinds. There are “kulobi” and “pomiri”Falaks with different status of jenre: pomiri falakis folklore’s jenre and kulobi falak – professionalone. State Ensemble of “Falak” was formed bythe Decree of the President.

• Na’ t – complicated jenre of long (not less than oneour) vocal singing of mountainous Tajiks with re-ligious texts. Usually it is a story about some Is-lamic person. During Soviet time this jenre wasillicit. This singing is now under the risk of disap-pearance.

• Naqsh – vocal singing of valley’s Tajik (mainly onthe North) with great culminations without anyinstrumental accompany. There is the another -wedding kind of Naqsh, which is performed dur-ing bridegroom is coming to bride’s house. Naqshis performer only by men (never women). Thissinging is now under the risk of disappearance.

• Lapar (or Badeha) – simultaneous singing anddancing form of cultural expression with lyric andhumorous contents. There is almost in all terri-tory of Tajikistan.

• Ruboi – very popular volksong borrowed its name(probably and formstructure) from poetical jenrethe same name. It has different nuances accord-ing to the Regions.

• Gurughlikhon – epic dastan’s performer with spe-cific style of singing accompanied by musical in-strument dumbra.

• Qissa – simultaneous singing and declamation formof cultural expression. This singing is now under

the risk of disappearance.

In conclusion, I should like to express my sincereappreciation to the ACCU, Ministry of ForeignAffairs of Japan, to UNESCO, which has played akey role in safeguarding and promoting theimportance of Intangible Cultural Heritage, JapanFund – in Trust for the Preservation and Promotionof Intangible Cultural Heritage and to the JapaneseNational Commission for UNESCO for their mostgenerous support in organizing this important

meeting.


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THAILAND

Dr. Somtrakool KlaDeputy Permanent Secretary,Ministry of Culture

Theme: Promotion of Safeguarding Intan-gible Cultural Heritage in Thailand

Thailand has a long rich cultural history from whichthe national identity and uniqueness have beenformed in various cultural aspects: language,literature, art, handicraft, performing arts, music,tradition, ritual and social practices. From the pastto present, the operations relating to national culturehave undergone a series of changes, development andmodification. As Thailand sees the significance ofits culture, Ministry of Culture was established inB.E.2545 (2002) to be the main agency responsiblefor all cultural aspects in Thailand. The vision of theMinistry of Culture is that citizens apply knowledgetempered by moral integrity for the purpose of livinga good life and for building Thai society along thepath of peace and sustainable development –anchoredwith pride and culture of Thai consciousness.

In order to preserve, safeguard, promote, andrevitalize the intangible cultural heritage, Ministryof Culture brings up the Master Plan on NationalCulture to be used as a main guidelines for culturalimplementation. It gives special emphasis on culturepertaining to human quality, society and nationaldevelopment of sustainable kind. This Master Planis a strategic plan covering the period of nine years[from B.E. 2546 to 2554 (2003-2011)]. It is intendedfor the organizations and agencies in the public andprivate sectors to draw up plans, projects andprograms in consistence with strategies andapproaches described in the Cultural Master Plan.

The concept of the Cultural Master Plan is that“culture” is a major component to strengthen theunity, intellectual value and moral support of thepeople in the nation. It is a compulsory asset to drivethe country to the successful social and economicdevelopment. Culture is an important factor thatunites the people within the country together andconnects with others in the international world.

The objectives of the Cultural Master Plan are: (1)to be used as a framework and guidelines for

implementation of religion, arts and culture, (2) tointegrate religion, arts and culture dimensions intothe ways of life of people, (3) to establish networkand poll resource for the implementation of religion,arts and culture (4) to serve as tools for promotion,coordination, and integration of concerted actionpertaining to religion, arts and culture, (5) To promotepride, equality, harmony and happiness among andbetween ethnic groups, families, societies, countriesand world communities.

The achievement of Ministry of Culture can beidentified by the following components:• Quality population qualified with knowledge and

virtuousness, noble-mindedness, moral awareness,willingness and capability for taking action forcommon goal and self-sufficiency.

• Population has the attributes of good quality of life,happiness, and healthy environment; equal oppor-tunity to be engaged in life-long learning, awareof cultural roots, and be internationally orientated.

• Social institutions, namely family, religion etc, arestrengthened and

encouraged to function in full capacity.• Caring society in which individuals care for one

another, strive to maintain righteousness, appre-ciate the value of Thai identities, respect and ob-serve traditions, social decorum and customs, takepride in virtue, cultural prestige and dignity – na-tional, local and ethnic as an origin.

• Citizens are united in spirit and action in protect-ing, safeguarding, preserving,

revitalizing, succeeding, continuing, creating, propa-gating religion, arts and culture with Thai identi-ties taking into consideration, cultural diversity of

communities of different ethnic origins.

In order to attain the set objectives and to achievethe goals, Ministry of Culture has adopted fourstrategies as follows:• Safeguarding and transfer of national cultural heri-

tage including local cultural diversity.• Activating self-respect, social value, sensibility and

local wisdom.• Converting national cultural assets for social value

and economic advantage.• Management of information and knowledge on re-

ligion, art and culture.

Under the Ministry of Culture, there are departments/


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offices responsible for the safeguarding and thepromotion of the intangible cultural heritage:

• Office of the National Culture Commission isentrusted with the task to promote and preserveintangible cultural heritage through means suchas studies, researches, revitalization, development,dissemination of information and supports to gov-ernment agencies, non-government organizationsand the public engaged in cultural work.

• The Fine Arts Department responsible for allmatters concerned with cultural heritage, both tan-gible and intangible. For the field of intangiblecultural heritage, the department responsible forthe training, promotion and development of thetraditional performing and fine arts. It adminis-ters the network of National Museum, NationalLibrary, National Archives, National Theatres aswell as the Literature and History Bureau. It runsand manages the Dramatic Art and Fine Arts Col-leges.

• The Religious Affairs Department has the task tocarry out religious affairs of the country by pre-serving, promoting, supporting and protecting af-fairs of Buddhism and other religions approvedby the authorities.

• Office of the Contemporary Arts and Culturehas the task to promote, support and disseminatethe creative activities of contemporary art in or-der to enrich Thai traditional knowledge and itsapplication in society.

• Princess Maha Chakri Sirindhorn Anthropol-ogy Centre (Public Organization) has the taskto implement activities in academic studies andresearch in anthropology, and to provide techni-cal services by serving as the agency of learning,source of information, and networking for infor-mation on anthropology in Thailand and South-east Asia.

Besides, there is Cultural Promotion Fund topromote the welfare of national artists andoutstanding cultural contributors. The fund is alsoused for activities related to cultural researchdevelopment, revitalisation, preservation,transmission, dissemination, and promotion ofculture.

Successful and On-going Intangible CulturalHeritage Promotional/Preservative Activities inThailand

Some examples of successful and on-going intangiblecultural heritage promotional/ preservative activitiesin Thailand are as follows:

“Research and Analysis of Knowledge andTransmission Process of Thai Classical Dance: CaseStudy of National Artists in the Field of PerformingArt”

Several Thai classical dance masters are honouredas National Artists in Performing Art (Thai Dance).In this aspect, there have been continuous effort fromthe Fine Art Department to study, analyse the patternsand processes in transmitting knowledge of theseteachers. As a result it becomes necessary to studyand record both the theoretical and practicalknowledge of Thai classical dance in forms of writtentextbooks and video presentation to be used as mastercurriculum of Thai dance. These materials will serveas academic and intellectual sources of knowledgeto be carried out by dance teachers and transferredfurther to younger generations.

The project aims to study and analyse the role modelof Masters in Thai dance; rules and criteria forchoreography of Thai dance performances;transmission process of Thai masters in Thai classicaldance. It also gives emphasis on the preservationand dissemination of knowledge in Thai classicaldance. In addition, the project is meant to produceproper documentation on Thai classical dance as asource of knowledge for further revision and studies.

The activities of the project comprise a research andrecord of data and information undertaken in thefollowing steps:• Studies of documents from National Library, Na-

tional Archives including interview with con-cerned persons.

• Field work – collection and recording of informa-tion in forms of photographs and video recording.

• Analysis and revision of information made intovideo presentation and publications.

In addition, a conference is organised for examinationand revision of information before video is producedand the documents are published.


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“The Transmission of Reading Style of LocalLiteratures”

To comply with the government’s policy in spreadingthe responsibility for conservation of local culturalheritage to each community, the Office of Literatureand History, Department of Fine Arts has initiatedthe project titled “The Transmission of Reading Styleof Local Literatures” during 2003 – 2005.

The objectives of the project are to disseminateknowledge and understanding of the Thai languageused in local literatures, and to let the Thai youthtake pride in one’s own local identity, so as to takepart in the conservation of each local style. It is alsoaimed to have the style and technique in reading localliterature revitalized and preserved. As a result, youthand the public can enjoy reading local literatures inlocal dialects.

There are different activities organised for each ofthe three-year project; as the first phase, Ministry ofCulture organised a seminar on the subject of theconservation and transfer of reading style of localliteratures. The seminar was attended by culturalofficers from Provincial Cultural Offices all over thecountry. The seminar aimed to brainstorm the conceptand direction of the conservation of reading style oflocal literatures.

Secondly, those regions sharing the same dialect ofspeaking and reading will collaborate to carry outactivities to encourage new generations to read localliterature in local dialect. Each region will also recordthe sound of reading literature in forms of cassettetape and CD. And lastly, each region will conduct acontest on reading the local literatures.

“Our Country Our Land”

The project aims to promote sense of belonging ofthe people in the nation by encouraging Thai peopleto appreciate their culture and identity at both localand national levels. The concept will create patrioticfeeling and love for one’s locality which will lead tounity and solidarity of the nation.

In other words, it is aimed to encourage Thai peopleto learn to realise the value of their own culture andbe proud of their local and national cultural identitysuch as language, tradition, music, food, costume,sport and play.

In order to encourage and to promote “Love for one’slocality ” and “Patriotism”, the following strategieshave been carried out:• Conducting studies on history and identity of lo-

cal and national culture which is a common groundof people such as national language and dialects,literatures, customs and traditions, music and artincluding folk performances, cuisines, textile andclothing, sport and folk play.

• Standardisation of local and national culture to bea model for the people.

• Related institutes such as family, community, andeducational, religious, cultural, and mass commu-nication institutes, should co-operate to educateand encourage people to act and behave accord-ing to the acceptable standard.

“Graceful the Thai Ways”

The objectives of the project are to promote the properusage of the Thai language in the educationalinstitutes and to encourage youth within and outsideeducational institutes as well as the public to be proudof their mother tongue. The project is also meant toencourage youth and public to have proper mannerin different occasions and to create joint activitiesamong the general public and youth within andoutside educational institutes to apply the Thailanguage and Thai manner as a medium to strengthenthe relationship among the people within the country.

The activities of the project focus on the promotionof Thai language by encouraging Thai youth to read,write, and speak Thai correctly. The main activitiesinclude the training workshop for teachers on thecorrect way of reading prose and poem and theaccurate pronunciation of speeches so that theseteachers can pass on the knowledge to their students.Furthermore, contest of reading prose and poemamong students is organised to encourage youth topay attention to improve reading skill. There is alsoa training workshop on correct speech for newsannouncers, radio disco jockey, television hosts, andtour guides so that these public figures can act asrole models for others. In addition, a Thai etiquettecentre will be set up in every province to promotethe identity of Thai etiquette. Experts on Thaietiquette will conduct training sessions for youth andgeneral public on appropriate etiquette for differentsocial occasions.


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TONGA

Ms. Tupou 'Ulu'ave TaufaDeputy Director of Education,Primary, Ministry of Education

Theme: LAKALAKA: THE ORAL ANDINTANGIBLE HERITAGE OF HUMANITYTHAT WAS PROCLAIMED AS AMASTERPIECE IN NOVEMBER 2003.

Lakalaka are major artistic productions that combinehistory, politics and entertainment as sung groupspeeches with choreographed movements. Each‘lakalaka’ ranges in length from twenty to fortyminutes. ‘Lakalaka” encode the oratorical voiceenlivened as a sung and danced performance. Oratoryis a major art form in Tonga and through oratoryemotions are expressed and reciprocated. The job ofthe orator is to make people laugh and cry, bymetaphorical references to people, places and theTongan way of life. ‘Lakalaka,’ with their oratoricalpower, are central to social activity through whichfundamental cultural values are constructed andpassed from generation to generation. ‘Lakalaka’ arevillage based and are performed at the behest of thechief by men and women of the village in praise ofthe village and Tongan society.

The justification of the candidature are as follows:

a. Outstanding value as a masterpiece of the humancreative genius.

Each majestic ‘lakalaka’ is an outstanding work ofart involving poetic, musical and choreographic ge-nius as well as the historical and cultural knowledgenecessary to create it. In addition, the costumes wornfor performance are specific to the village perform-ing and to the poetry and event at which it is per-

formed.

b. Its roots in the cultural tradition or cultural historyof the community concerned.

The origins of the lakalaka in an earlier performancegenre known as ‘me’elaufola’ are shrouded in themists of time. Since the mid-nineteenth century‘lakalaka’ has been the dominant performance formfor all major government and religious events. Im-

Follow-up activities of the 2002 Regional Workshopfor Cultural Personnel in Asia and the Pacific onPromotion of the “Proclamation of Masterpieces ofthe Oral and Intangible Heritage of Humanity”

Thailand is encouraging relevant cultural agenciesto select cultural spaces or form of cultural expressionof outstanding value which represent either a strongconcentration of the intangible cultural heritage ofoutstanding value or popular and traditional culturalexpression of outstanding value from a historical orlinguistic or literary point of view. Then the candidatewill be submitted to UNESCO for the thirdProclamation of Masterpieces of the Oral andIntangible Heritage of Humanity in July 2005.

Recommendations

Intangible cultural heritage is very substantialtreasure of each nation which needs to be seriouslypreserved. However, some countries might have noidea how to safeguard their invaluable heritage.Therefore, the expectation from this meeting is thatthere should be a training course or workshop on themethodology of safeguarding intangible culturalheritage so that we can follow the correct-standardguideline on this matter. Besides, there should be amanual on safeguarding intangible cultural heritagefor ACCU member countries. In addition, thereshould be technical support for some countries whosetechnology is not much advanced. Moreover, thereshould be a publication on a list of intangible culturalheritage of member countries like “Data Bank onTraditional/Folk Performing Arts - A Basic Model”which is considered to be a very useful source forthose who would like to search for information onperforming arts.


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portant occasions without lakalaka’ are inconceiv-able, yet few new compositions are appearing andold compositions are beginning to deteriorate in styleand content.

c. Its role as a means of affirming the cultural iden-tity of the peoples are cultural communities con-cerned.

‘Lakalaka’ encode historical and mythological con-cepts and events and bring these to bear on contem-porary life. Tongan cultural identity is based on andenshrined within these concepts.

d. Excellence in the application of the skill and tech-nical qualities displayed.

Great skill and knowledge of historical and contem-porary events, places, and people are necessary forthe poetic composition as well as how to embed thisknowledge as allusion through ‘heliaki’(‘not goingstraight’ and ‘to say one thing but mean another’).Knowledge about how to construct the distinctiveTongan polyphony is required in order to set thewords to music. Skill as a choreographer in the uniquemovement and dance system of Tonga is necessaryin order to enhance the aural composition visuallywith dance.

e. Its value as an unique testimony of a living cul-tural tradition.

‘Lakalaka’ is one genre of a rich Tongan poetry/mu-sic/dance repertoire. Other genres are me’etu’upaki’( a men’s standing dance with paddles, accompaniedwith a log drum), ‘fa’ahiula`( a women’s dance withtwo sections—sitting dance by a large group followedby a standing dance of a small number of youngwomen, accompanied by a rolled mat struck with awooden beater), ‘ma’ulu’ulu’ ( a group sitting danceperformed women and /or men, accompanied by oneor more skin drums), and hiva kakala/tau’olunga’ ( a“sweet” song, accompanied by a string band and fe-male dancers). ‘Me’etupaki’ and ‘fa’ahiula’ are ex-tant but dormant historical genres in which no newcreations have been made for more than a century.‘Ma’ulu’ulu’ and ‘hiva kakala/tau’olunga’ are con-temporary genres with evolved Europeanized musi-cal elements. Only ‘lakalaka’ is a historic form thatretains its uniqueness in the heliaki of poetry, sound,and movement while maintaining its relevance forcontemporary society.

f. The risk of it disappearing, due either to the lackof means for safeguarding and protecting it or toprocesses of rapid change, or to urbanization, orto acculturation.

In addition to affirming cultural identity as a nation,‘lakalaka’ texts are a source of information about thehistory and important places, monuments, and natu-ral features of islands and villages and serve as in-spiration for compositions in the ‘hiva kakala’ (con-temporary “sweet” songs) genre. ’Lakalaka’ bringtogether people from throughout Tonga for nationaland religious events in a spirit of artistic competi-

tion.

The action plan for the ‘Lakalaka’ – A NationalTreasure, is a five to ten year plan. The Committeefor the Preservation and Revitalization of theLakalaka, under the aegis of the Tonga TraditionsCommittee plans to meet with recognized Tonganpulotu and punake (composers) to decide on the bestculturally sensitive ways to pass on their technicalskill and knowledge to a new generation ofcomposers. This may be one-to-one transmissionwithin recognized families, or in classroom activitiesin the secondary schools and the Tonga Institute ofEducation through their Tongan Studies curriculumand cultural programmes.

The Committee for the Preservat ion andRevitalization of the Lakalaka is working with thecopyright office to decide on the best way tosafeguard existing texts and new compositions, andto work out regulations for a possible copyright law.

Funds will be sought from government and outsidesources. It has not been a Tongan tradition to paycomposers or performers – except for the presentationof traditional Tongan materials, such as pieces of barkcloth and woven mats. Teachers in schools have beenpaid in the past, and funds will be sought from theDepartment of Education for teaching of lakalakacomposition and preparation for performances.

At present, there are only a few recognized competentpractitioners of lakalaka composition, and it isimperative that these individuals pass on theirknowledge as soon as possible. The declaration ofthe ‘Lakalaka” as a Masterpiece of the Oral andIntangible Heritage of Humanity in November, 2003,has given the needed impetus to preserve and


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revitalize the ‘lakalaka’ and restore it to its recognizedplace of highest prestige in the hierarchy of theperforming arts of Tonga.

The action plan has several parts;

1. Gathering as many texts as possible of known‘lakalaka’ texts into the archives of the TonganTraditions Committee, located at the Palace Of-fice, Nuku’alofa.

2. Systematically searching the existing materials inthe archives for lakalaka texts.

3. Organizing the texts into categories based on au-thorship and event for which they were composed.

4. Conservation of rare, original, or contemporarymanuscripts of texts or music.

5. Publishing the texts in a series of booklets.

6. Publishing recordings of lakalaka on cassette tape,CD, and by other technologies in conjunction withthe Tongan Radio Station.

7. Working with well-known composers of text,music, and dance to train new practitioners in thearts of composing lakalaka.

8. Holding a festival based on performances of his-toric lakalaka.

9. Performances of old and new lakalaka at Nationalevents such as the celebration of His Majesty’sBirthday on 4th July.

10. Continuing education in lakalaka composition andthe historical and cultural knowledge for suchcomposition.

11. The Tongan Traditions Committee has two em-ployees, one of whom has had archival training.Funds will be sought for further archival and tech-nical training and employing a temporary techni-cian to carry out number 2 above.

12. Additional computer and photocopy machine areneeded.

13. Movie and video footage of lakalaka perfor-mances will be sought , copied, and made avail-

able to composers and students. Appropriate VCRequipment will be necessary for copying the mas-ter videos and for viewing.

Five other forms of cultural expression that the TongaTraditions Committee envisages proposing forpossible proclamation as a Masterpiece of the Oraland Intangible Heritage of Humanity.

1. LALAVA.

The knowledge of how to prepare and execute thesennit bindings for the internal posts of a traditionalTongan house. The materials are made from preparedcoconut fiber and the posts and beams are boundtogether with elaborate designs.

2. NGATU

The knowledge concerning the fabrication of Tonganbark cloth. This includes the growing of the plantsused for the inner bark, its preparation, pounding andpasting, and the making and application of the stencilsto transfer the designs to the cloth. Ngatu is presentedat weddings, funerals, investitures of titles,graduations, and other ceremonials events.

3. ME’ETU’UPAKI.

The preservation of this ancient men’s danceperformed with paddles. This dance is preserved onlyin the village of Lapaha on Tongatapu. No newme’etu’upaki has been composed for more than acentury, and the knowledge of how to perform thedance is in danger of dying out.

4. HIVA USU

The preservation of this singing tradition. Theknowledge of the words and music of this oldtradition of chanting emotional texts about Tonga isknown only by a few old men who perform at sunriseon Sundays in a few tradition-bearing churches.

5. PONGIPONGI HINGOA.

The preservation of the full knowledge of the ritesassociated with the investiture of titles of chiefs,ceremonial attendants, and the monarch.


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UZBEKISTAN

Prof. Rustambek AbdullaevHead of Department for Folklore andContemporary Music, Fine Arts Institute ofthe Academy of Arts of Uzbekistan

Theme: MASTERPIECES OF INTANGIBLECULTURAL HERITAGE OF UZBEKISTAN

The concept “Oral and intangible cultural heritage”have been covering whole process, knowledge, skillsand creative activities related with any culturalexpressions and forms. Cultural forms andexpressions include as human recourses so differentsocial, cultural, natural and geographical aspects.Identification of concrete historical, ethnographicaland cultural phenomenon provides continuousdevelopment and preservation of cultural and creativediversity within the global network.

The cultural space of Boysun district (Surkhondarya/Uzbekistan) was proclaimed by the UNESCO as theMasterpiece of Oral and Intangible Heritage ofHumanity in 18th of May 2001. This event becamean important incentive to support forms and genresof traditional culture within whole Central Asianregion and in order to elaborate a long-term strategyfor conservation and development of intangibleheritage of Uzbekistan.

Shashmaqom, which is a phenomenon of spiritualculture of Central Asia, was also proclaimed as the“Masterpiece of Oral and Intangible Heritage ofHumanity” in 7th of November 2003. The nominationdocument has been prepared and submitted by theRepublic of Uzbekistan and it had been supportedby Tajikistan. This recognition means thatShashmaqom’s artistic and historical significancegoes beyond of region. For many centuries theconcept “maqom” had become the key foremphasizing the traditional and classic musical artof the East. The maqom is not only being preservedas spiritual heritage but also proactively madeinfluence to the global musical process.

Uzbek traditional music is a unique artisticphenomenon which has ancient roots in the past. Thismusic has passed through the centuries-old historyand it is a result of creativity of many singers andmusicians. It is also based on folk epics and well

developed rhythms of vocal and instrumentalperformances. Uzbek traditional music is possessingvariety forms, sights, genres and philosophicalmeans. One of the peculiarities of the music is thesynergy of folklore and oral creativity. Uzbektraditional music covers broad field of performances,starting from simple children songs (schitalki) tocomplex classic songs (“katta ashula”). Transmissionof intangible heritage to future generations is realizingthrough traditional schools of “Ustoz-Shogird”(“teacher-apprentice”), “Sozanda”(musicians-toolmakers), “Xonanda” (folk singers), “KattaAshulachi”, “Bakhshi” (epic story-tellers) and finally“Maqomchi” (maqom performenrs).

SHASHMAQOM AS A UNIQUE GENRE OFTRADITIONAL MUSIC

(1) Why and how the particular cultural expression/

space was selected

Shashmaqom was selected due to its outstandingvalue as the form of expression of Central Asianpeople. Maqoms or maqams exist as part of cultureof many nations from Morocco to China andrepresent a wide family of maqam-based music.There is even a special international “Maqam” studygroup, founded in 1987 within International Councilof Traditional Music (ICTM), with coordinators Dr.Jurgen Elsner (Germany) and Prof. FayzullaKaromatli (Uzbekistan), and which has organizedfour conferences: in Helsinki (1997) in Turkey(1998), in Berlin (1989 and 1992). Fifth meeting washeld in Samarkand and Bukhara in August 2001within Third International Music Festival “SharqTaronalari”.

Outstanding value of Shashmaqom is in its systematicdiversity and it is a real musical encyclopedia ofpeople of Central Asia.

From the point of view of musical logic, theShashmaqom is a complex, self-organizing system.It is a world of sounds and sound relations, expressedin melodic, rhythmic and constructive modules withtheir own semantics. In structure and logic,Shashmaqom is one of the greatest phenomena in

monodal music.

The Shashmaqom entails many varied musical ideasand forms those are difficult to explain in everyday


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language, and where flights of the imagine combinewith rationality. It is a synthetic art, including musicand poetry. The latter is not a mere afterthought, butdeeply penetrates the nature of the maqom. Still, theShashmaqom is first of all music in its basicprinciples.

The maqom as a genre is related to classical music.It stands out in its perfection, structure, and developedtheoretical basis. The harmonic and rhythmic systemis especially thoroughly worked out. The musicalmaterial is systematized according to these twoparameters. Maqoms consist of a certain number offundamental harmonic and rhythmic formulas. Theyare clearly identified and give the possibility toperform the collection of works as a whole accordingto the system of their mutually dependent elements.Such a highly organized system demanded deepmastery from performers and composers. Theclassical maqom and the professionalism associatedwith it must be seen as a science in the inseparableunity of theory and practice. Such outstandingscholars as Farabi, Aby Ali Ibn Sino (Avicenna),Sa f iudd in Urmav i , Abdu lkadyr Marag i ,Abdurakhman Djami, Nadjmiddin Kavakbi whocontributed to the elaboration of the theory of Easternclassical music. Their works are the foundations ofEastern classical music, giving a logical basis ofharmonic and rhythmic systems, as well as genresand forms of classical music, and its social functions.From the history of Shashmaqom it is well-knownthat its origination goes back to the pre-Islamic ages.It has been an unalienable element of all ethic groupsinhabiting this region.

Later Shashmaqom has been very interrelated withSufism, mystic religious movement in Islam thatdeveloped in the lands of Central Asia. Theuniqueness of Shashmaqom can be seen in thedevelopment of its scientific theory along with themusical performance. This is special case when musicdevelops not only in performance and is listened toby people but also is widely studied and researchedby the famous scholars and philosophers of the time.Shashmaqom as an art is undoubtedly constituent andirreplaceable part of cultural tradition and culturalhistory of people, moreover it is also an art that hasthorough and complex theory that has existed assubject of steady and intent attention of scientificthoughts. By learning Shashmaqom one could feelthe culture of local people, because Shashmaqom as

an art reflects all those characteristic features ofpeople.

Except being itself constituent part of regionalculture, Shashmaqom also comprises in itself sets ofvarious other cultural elements. That is, manyprominent composers, performers and poets of theEast used the model of Shashmaqom for their works,such as Alisher Navoi, Abu Ali ibn Sino (Avicenna),Zahiriddin Muhammad Babur and many others.Many great poems and works of those authors havebeen created with the inspiration from Shashmaqomand have been conserved together with and by thehelp of maqom music models. Thus, Shashmaqomis a treasured custody of local culture, history andscience. Shashmaqom by its perfect structure andbeauty is widely compared with the splendidarchitecture of Uzbekistan and magnificent miniaturepaintings by Kamollidin Bekhzod.

Shashmaqom is very fundamental aspect of livingculture and traditions of people in Uzbekistan. Itsmanifestation related with values in society, servesto reinforce cultural identity, diversity and creativity.Shashmaqom as well preserved chain of easternsystem of makomat, expresses the conciseness andpsychology of people. Shashmaqom is as much amonument as the architectural historical monumentsof Bukhara, Samarkand, Khiva and Tashkent. It isbecame very important s ince gaining ofIndependence in 1991, which promote culturaldynamics in contemporary society not only inUzbekistan, but also in other Central Asian countries.Social transformation stimulated awareness of ethnicidentity through intangible cultural expressions, suchas Shashmaqom. In addition, Shashmaqom asphilosophic system, increased the attention of societyto historical roots, genuine spiritual and ethicalvalues. It is significant fact that Shashmaqomcontributes to the diversification of contemporarycreativity not only in traditional art but also in modernart. There is famous expression that Shashmaqom isbright example of unity of Uzbek and Tajik people,talking in various languages (Uzbek languagebelongs to the Turkiq group and Tajik languagebelongs to the Persian group).

Shashmaqom, however, being written down in thelast century, can not be preserved in its full withoutthe direct transmission of skill and know how through“master-student” learning process. Throughout the


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history Shashmaqom music was taught by mastermusicians and performers to their students. Usuallythe prominent and famous singer – Hofiz chose achild who showed the signs of good ear for music,good voice and sleight of hand and taught him/herfor many years all his/her knowledge and skills. Onlythe talented and hard-working student would end upas a good performer of Shashmaqom. Moreover, inorder to be called Hofiz he/she had to not onlybrilliantly apply the techniques learned from his/hermaster but also have his/her own style ofperformance. The singers – Hofizes had also to beable to play the instruments and even make them.The five-line notes system, which has started to beused for writing down Shashmaqom in the 20th

century, can record only the naked skeleton of themusic. It cannot reflect the whole richness and fullcolor of this splendid art. The five-line notes systemis not convenient for this music. That is why onlyorally taught “master-student” education can give aperson an idea of Shashmaqom. PerformingShashmaqom is not just playing the instrument orsinging the song. In order to perform Shashmaqomone must feel the music spiritually, together with itsvalues and traditions, which have been developedthroughout many centuries.

Shashmaqom is regular performing art in most ofritual traditions (weddings, family festivities, folkholidays, etc.) in urban as well as in rural areas ofUzbekistan and Tajikistan. Each artist, even atcommunity level, in his/her repertoire hasperformance of some parts of Shashmaqom. Since1983, Rajabiy National Contests on maqomperformances organizing on regular basis.Government of Uzbekistan initiated the InternationalMusic Festival “Sharq Taronalari” in Samarkandevery two year starting in 1997. There is monthlyradio programs “Qukhna Navo” (on FM, AM and onother radio frequencies) with performing ofShashmaqom

(2) Difficulties faced during the selection of the can-

didature

There are several maqom schools in Uzbekistan: suchas Fergana maqoms, Khorezm maqoms, Tashkentmaqoms and Bukhara Shashmaqom.

The situation of Shashmaqom became extremelycritical in the middle of XX century as the Soviet

government had a negative approach towards it. Theofficial policy was that “Shashmaqom is heritage ofaristocracy and has no reason to live upon”. Thisopinion was developed in accordance with prevailingat that time class ideology. The construction ofsocialist culture in music meant the priority ofdevelopment of polyphony on the basis of theblending of national and European traditions.Maqoms as a symbol of national-aristocratic art wereexcluded from the official ideology.

Current national cultural policy of Uzbekistan, inparticular, is devoted to the creation of all necessaryconditions for revitalization of Shashmaqomtraditions in Bukhara as well as in other regions ofUzbekistan, as Samarkand, Khorezm, Tashkent andFergana.

One of the difficulties related with selection ofcandidature was shortage of contemporarypublications on Shashmaqom. Most of the historicalscientific sources concerning Shashmaqom werewritten in Arabic script (in Uzbek, Persian or Arabiclanguages) and therefore new studies of manuscriptsshould be organized. Moreover, most of textbooksand other publications and music recordings ofShashmaqom were issued in 1960-1980 and there isshortage of these books in libraries and musicalarchive needs to be restored and digitized.. In themeantime there are many studies on Shashmaqom,but there is lack of resources for printing ofmonographs and textbooks.

Another difficulty was related with traditionalmusical instruments for performing of Shashmaqom.It should be support to local craft schools , who stillproducing traditional musical instruments.

(3) Current situation regarding the implementation

of the Action Plan

National team of experts consisting of 16 experts wascreated in January 2004. Experts are representingMinistry of Cultural Affairs of Uzbekistan, Academyof Arts of Uzbekis tan, Uzbekis tan StateConservatoire, Fine Arts Scientific Institute, Instituteof Culture, Yunus Rajabi Museum, UzbekistanNational Broadcasting Company and various localNGO’s in the field of cultural heritage. Moreover,several prominent artists were also included into the


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national team of experts. National team of expertse laborated project proposal on pract ica limplementation of the Action Plan, which is focusedon three directions: (a) inventory and digital recordingof Shashmaqom and related phenomena, (b)publications of academic and educational books, (c)training activities within country (teachers-apprenticesystem) on transmission of heritage (vocal andinstrumental performances, creation of musicalinstruments) and organization of scientific workshopsand festivals.

Action plan has been designed to establish a NationalInventory of the Shashmaqom, which will encompassresearch, documentation, preservation, disseminationand revitalization functions. It has been designed tocover all stages of the development of the Inventory,from the training of cultural workers who willconduct field research, to the installation of andtraining in the use of the electronic inventory. Theplan seeks to approach the Shashmaqom as a domainthrough which high levels of training and skills,including the use of audio-visual equipment fordocumenting will be gained.

The main goal of the Action plan is to ensure thesafeguarding and revitalization of Shashmaqom andother forms of maqoms within the territory ofUzbekistan. Action plan have provision of trainingin documentation and field work practices, and bydeveloping long-term strategies to ensure the ongoingtransmission of this intangible heritage to futuregenerations.

The immediate beneficiaries of the project will beHofizes (Shashmaqom vocal singers), Sozanda(Shashmaqom instruments players) and local Usta(artisans, who are producing traditional musicalinstruments). Members of the communities, studentsand academic staff of the Uzbekistan’s institutionswill be trained in field-methods on collecting anddocumenting intangible cultural heritage anddevelopment of the inventory to internationalstandards. The plan seeks to provide the foundationsfor the ongoing development of training, research,documentation and dissemination structures in thisdomain beyond the duration of the project, and topromote awareness of the significance of intangiblecultural heritage, at a national and international level.The Action plan involves the preparation for anddevelopment of an electronic National Inventory of

the Shashmaqom through training in fieldworkmethods and practices, in use and maintenance ofthe Inventory and in archival practices. Thatfieldwork will focus on the vocal and instrumentalperforming arts and traditional musical instrumentsassociated with Shashmaqom in order to ensure thata wide range of Shashmaqom performances aredocumented.

The plan will seek to strengthen the expertise of thelocal teachers, cultural workers and students inf i e ldwork methodology, documenta t ion ,classification and preservation practices involved inestablishing the Inventory. The Inventory will beestablished within Fine Arts Institute of the Academyof Arts of Uzbekistan and Yunus Rajabiy Museum.The main goal of Action plan is the training ofstudents in areas of Shashmaqom traditions. Bothinstitutions will serve as an archival repositories forthe research material collated during fieldwork - anessential aspect of the project in terms of conservingdocumentation for ongoing access for reasons suchas future research. Action plan will setup severalmaster classes on Shashmaqom: “Master-student”.Therefore current activities on Action Plan will focuson providing expert training to artists, artisans,teachers, practitioners and students in the five mainaspects of the project: i) field-based practices,including the use of audio and audio-visualequipment, ii) data assessment, iii) inventory use andmaintenance and iv) archival practices and v)traditional crafts skills and business skills.

(4) Other heritage that was considered for candida-

ture

• KATTA ASHULA – vocal performance by one orseveral artists without musical instruments. Thisancient cultural expression is mostly popular inFergana Valley of Uzbekistan.• LAPARCHILAR – simultaneous singing anddancing performance by artists. This ancient culturalforms was very popular in Uzbekistan and it iscurrently under the risk of disappearance.• FARGONA ASKIAYSI – ancient performance ofmasters-humorists in oral discussion. This culturalexpression is very popular from ancient time and itwas performed during all folk festivities inUzbekistan. It was originated in Fergana Valley.• NAVRUZ – cultural festivity devoted to ancientNew Year Holiday (21 of March). Various folkcultural expressions are performed during one months


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since 21 of March: dances, signing, cooking oftraditional cousins (sumalak, halim, etc.), handicraftsexhibitions, traditional games, traditional circus,puppet show, etc.• BAKHSILAR – folk-bard singers. This culturalexpression is mostly popular in the West and Southof Uzbekistan. Performance of bakhshi is unique lifeimprovisation, which originated from epics ofUzbekistan, such as Alpomysh.

CULTURAL SPACE OF BOYSUN DISTRICT

Proclamation of cultural space of Boysun District ofUzbekistan as Masterpiece of Oral and IntangibleHeritage of Humanity made important incentive onsupporting the forms and genres of traditional culturewithin all Central Asia region and on elaborating along-term strategy in order to maintain and developit in the future. Traditional art and folklore of Boysunhad developed during centuries under the influenceof various cultural interactions.

Proclamation stimulated active participation ofvarious organizations in Uzbekistan (governmentaland non-governmental) for cooperation inpreservation of unique intangible heritage of theregion. Since 2002 a annual open folklore festival“Boysun Bahori” (Spring in Boysun) is organizedin May, at which the most striking professional andamateur folklore ensembles musicians and folk tellersfrom Uzbekistan and other countries are presentingdistinctive folklore music, songs, dances, epics,instrumental music, crafts and national clothes.

First festival “Boysun Bahori” had brought togetherabout 400 artists, artisans and scholars and hadpromoted:- cultural conversation and creative connections

between different cultural groups;- ideas of peace, tolerance, friendship, humanism and

cooperation;- multidisciplinary scientific studies (among

musicians, folklore scientists, ethnographyscientists, art-critics, historians, philologists) in theframe of international scientific conference “Folkart and folklore in the context of modern artisticculture”.

Besides, the first festival was a striking demonstrationof safe-keeping and careful attitude to the distinctive

traditions of folk creation and drawing the younggeneration to folk rituals and customs, musical cultureand art crafts.

The first festival “Boysun Bahori” consisted of fourcompetitions, among: folklore ensembles, epic tellers,performers of traditional music and traditionalfashion designers. There were 11 folklore ensemblesfrom Uzbekistan and Tajikistan at the competition,which took place on the platform of “Boysuntog”.Each of them presented authentic performing art oftheir region, including customs and rituals. Theirperformances have been accompanied withdistinctive and ritual songs, music, dances thedemonstration of way of life’s things and clothes.The competition of epic folk-tellers, which collectedtogether 26 artists (bakhshi, jirau, dostonchi,manaschi) from Uzbekistan, Qoraqolpogiston andKyrgyzstan, demonstrated bright examples oftransmission of heritage to future generation. Famousmasters together with seven years-old childrendemonstrated their fantastic performing skills duringcompetition. Competition among performers oftraditional music brought together very gifted youngpeople. The musicians from Uzbekistan, Kyrgyzstan,Tajikistan and Japan were competing for the firstprize of famous Uzbek folk musician TurgunAlimatov. Shimado Shizio, musician from Japan,demonstrated excellent knowledge of performingwith Uzbek traditional instrument “Tanbur”. Thecompetition of designers of traditional clothes hadattracted particular attention of scholars and broadpublic. In order to continue actions for preservationof intangible heritage of Boysun, participants of thefirst festival adopted special resolution. Theresolution became a basis for the next stage of studiesand inventory of folklore and traditional culture ofUzbekistan.

The main organizers and sponsors of the first festival,SMI-Group and Fine Arts Institute of Academy ofArts of Uzbekistan, have elaborated a long termprogramme of scientific research in Boysun. One ofthe main items of this programme is the creation of“Boysun” scientific expedition. Its main goal is deepstudying of “Boysun” history and culture on the baseof field works. It had also been planed to carry outregular publications of the outcomes of expeditions.First expedition was organized in summer 2003. Inorder to monitor this project it was decided toestablish the Foundation “Boysun” on supporting ofculture and art of Boysun.


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The second open folklore festival “Boysun Bahori”was held in May 2003. The festival also had broughttogether about 400 participants from various regionsof Uzbekistan, Tajikistan, Kazakhstan, Kyrgyzstan,France, Germany, Republic of Korea andSwitzerland. Many art-critics historians, designers,tale-tales and others were participated there. Thesecond festival was devoted to the ecology of folkculture and traditions.

The proceedings of the scientific conference of thesecond festival was published. Second festival wasorganized in non-formal way as folk festivity andduring one week all participants and people ofBoysun had enjoyed diversity of ritual songs, folkcolorful dances, folk-tellers performances (such as“bakhshi” and “akyn”). Exhibition of varioushandicrafts (carpets, Suzanne, pottery works,traditional toys, etc.) was organized during secondfestival. Special seminar with participation ofUNESCO experts was organized, where long termprogramme on UNESCO’s technical assistance (extrabudgetary project) for organization of scientificexpeditions was discussed. Moreover, new projecton creation of Handicrafts Learning Center in Boysunwas approved with support of UNESCO andEuropean Commission. The construction of theCenter have been started in October 2003 and itscompletion has been planned by opening the thirdfestival in May 2004. The special feature of thesecond festival was the presentation of performancesby three children folklore ensembles fromSurkhandaryo and Qasgqadaryo (both regions ofUzbekistan) which demonstrated the continuity oflocal traditions.

As follow up activities, two multidisciplinaryscientific expeditions (summer and fall of 2003) wereorganized in Boysun district in order to carry ourdeepen studies of cultural spaces of central andremote areas of the region. Expeditions consisted ofspecialists such as art-critics, musicians, theatre-critics, ethno critics, linguists, philologists, regionalethnographers and archaeologist’s philologists.Experts represent various institutions, such asInstitute of History, Institute of Language andLiterature, Institute of Archaeology of the Academyof Science, “Boysun” Foundation, SMI-Group,UNESCO Office in Uzbekistan (local experts andinternational experts) and National Commission ofthe Republic of Uzbekistan for UNESCO.

Two expeditions visited more than 40 villages ofBoysun district and carried out complex studies andinventory. The collection of records, audio, video andphoto-materials provided new knowledge’s abouthistory of the district, its ethno genesis, rituals andcustoms, religious views, folk performance,traditional games, musical folklore and musical setof tools, arts and architecture, oral creativity andmasters of folklore. On the basis of results of fieldstudies the preliminary database of cultural space ofBoysun has been created. The expedition intends topublish the “Atlas of folklore centers and handicraftsof Boysun district”.

The work of the scientific expedition will continuein March-April 2004. At present, the materials ofexpedition are being prepared as a collection ofarticles (three publications under printing), but somematerials have already been published in differentjournals, presented at the conferences and seminars.Mid-term review meeting was organized in 23January 2004, where field works outcomes werepresented. The presentations have been accompaniedwith audio/video/photos materials, products of folkapplied art musical instruments and the works ofpainting art.

In conclusion, it should be mentioned that successof scientific expeditions was achieved thanks to theintellectual and technical support from UNESCO(extra budgetary sources from Japanese Fund-in-Trust) and close collaboration between variouspartners (governmental, non-governmental andprivate organizations). All of these efforts createdfavorable conditions for preservation anddevelopment of cultural space of Boysun district.


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VANUATU

Mr. Ralph RegenvanuDirector, Vanuatu Cultural Centre

Sand drawing (proclaimed as a Masterpiece inNovember 2003)

(1) Why and how the particular cultural expression/space was selected for candidature

We originally thought to nominate the “Nagol Land-Dive” (see below), but UNESCO recommendedagainst this expression because of potential conflictswith human rights (some of the practitioners areinjured or killed as a result of participation).Sand drawing was then chosen, for three mainreasons:a) as a cultural expression it fit perfectly into the

category of “intangible cultural heritage” andwith all the criteria of the Proclamation ofMasterpieces program;

b) it was a cultural expression practised by a largenumber of the different cultures within Vanuatu,so it could be seen politically to be morerepresentative of the country than otherexpressions which were limited to only onecultural group (such as the “Nagol Land-Dive”)[there are over 100 different cultural groups inVanuatu];

c) there was a researcher in-country doing workon sand drawing who agreed to write thecandidature file.

(2) Difficulties faced during the selection of thecandidate

None – it was very obvious that Sand Drawing wasby far the best candidate for nomination.

(3) Current situation regarding the implementationof the Action Plan

As Sand Drawing was awarded a money prize by thejury at the time of its Proclamation, funds wereimmediately available to begin implementing theaction plan. We began implementation almostimmediately after the Proclamation by holding thefirst meeting of the project steering committee(comprised of practitioners) to decide how toprioritise use of the available funds. (We needed toset priorities because the prize money received was

less than the budget set out in the action plansubmitted as part of the candidature file). Thecommittee decided to prioritise the ‘Practitionerpromotion’ component of the action plan, whichconsisted of holding a series of sand drawing mini-festivals in a number of locations leading towardsthe First National Sand Drawing Festival, to be heldin May 2004. The first step of this is awareness-raising in the regions in which sand drawing ispractised to identify practitioners and facilitate theirparticipation in the mini-festivals – this awareness-raising commenced in January 2004 and wasimplemented by community-based fieldworkers ofthe Cultural Centre in their respective regions.Awareness-raising has also been ongoing at thenational level, initially through a special exhibitionat the National Museum to commemorate theproclamation which was opened 2 weeks after theproclamation itself, and subsequently through regularradio news bulletins about the sand drawing mini-festivals and the forthcoming national festival. Themini-festivals commenced in February and will beongoing until April.

(4) Other heritage that was considered forcandidature

1. Nagol Land-DiveEvery Autumn (April-May), on the island ofPentecost, young men leap from tall (30 metre)wooden towers with vines tied to their ankles. Thisis an annual ritual to mark the harvesting of yams,and to ensure a good crop in the following year.This cultural expression includes the temporarytowers, the musical performances that supplementthe event, and the cultural knowledge required toparticipate in this ritual. This unique culturalexpression is the inspiration for the internationalcommercial phenomenon of “bungy jumping”.

2. Nekowiar (Toka) CeremonyIn accordance with their cultural calendar, everyfew years the island of Tanna hosts a festival ofdances, feasting and exchange that symbolises thealliance between different tribal groups. This eventoriginally celebrated the end of war between thepeople of Tanna, but it is now Vanuatu’s singlelargest custom event, involving hundreds of peopleand several days and nights of dancing, feasting,and gift exchange ceremonies. The preparation forthe Nekowiar takes up to one year.


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3. Nimangki Grade-Taking SystemThe north-central islands of Vanuatu have a richhistory of male and female grade-taking systems.This involves the circulation of pigs, yams, images,songs, dances and other forms of material culturebetween individuals, villages and islands througha broad network of ceremonial exchange. Thiscultural complex is being increasingly revived incontemporary Vanuatu, and continues to functionas an important vehicle for affirming andmaintaining the dynamics of regional identitywithin global capitalism.

4. Kava CultivationVanuatu’s languages distinguish and classify at least247 kava cultivars, which are used for a range ofmedicinal and ceremonial purposes. Thecomplexity of these folk taxonomies and associatedmythologies indicates the antiquity of this plant’suse in Vanuatu, and this has been supported bybotanical research, which identifies northernVanuatu as the origin point for kava cultivation,which is now practiced across the Pacific. Thecultivation of kava in Vanuatu is a living traditionthat testifies to superior agronomic practices andan ancient history of sea-borne agriculturaltechnologies and intercultural exchange.

5. Hermaphrodite and tusked pig farmingThe farming of hermaphrodite pigs (called narave)and pigs with elongated curved tusks in Vanuatu isa unique form of animal husbandry. These cross-bred species of Melanesian pig are distinguishedby two remarkable features. Firstly, their tusks arecultivated in such a way that they form completespirals. Secondly, the species includes three sexes:male, female and hermaphrodite. The knowledgeassociated with the farming and use of “tuskers” isof great symbolic and economic value to the cultureand cultural identity of Vanuatu (the complete spiralcurved tusk appears on the national flag and in thenational coat of arms), and the “culturallyhermaphrodite” pig is also unique in the world.

Case studies of successful/on-going IntangibleHeritage promotion/preservation activities, if any,on the following topics. (SEE ATTACHEDREPORT)

(a) Public awareness raising (advocacy, publicity)

(b) Drafting national legal instruments for ratification

of the Convention for the Safeguarding of theIntangible Cultural Heritage (arguments/justifications)

(c) Heritage management, including inventorymaking

(d) Reviving once-endangered heritage (trainingyoung performers/tradition bearers)

(e) Intangible heritage in education (formal, non-formal)

(f) Other examples related to safeguarding ofintangible heritage

Follow-up activities of the 2002 RegionalWorkshop for Cultural Personnel in Asia and thePacific on Promotion of the “Proclamation ofMasterpieces of the Oral and Intangible Heritageof Humanity” (Tokyo, Japan, March 2002)

Our main follow-up activity was the nomination ofSand Drawing and its successful proclamation.

Please discuss briefly (1 paragraph) what yourexpectations for this Meeting are.Assist other countries to safeguard their intangiblecultural heritage through sharing of experience.

Theme 2: Case studies of successful/on-goingIntangible Heritage promotion/preservationactivities, if any, on the following topics.

The Vanuatu Cultural Centre’sFieldworker Program

Vanuatu is unique in the region, and perhaps in theworld, for its cultural fieldworkers program, whichis widely seen as a model for community participationin cultural heritage management. The Pacific IslandsMuseums Association (PIMA) has been trying toencourage other institutions in the region to use thismodel to develop more effective communityparticipation in cultural heritage management – aworkshop with Pacific Island museums was held inVanuatu in 1999 for this purpose.

The fieldworkers program was set up in the mid-1970s at the Cultural Centre. People living in the


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local community are selected as fieldworkers torepresent different cultural groups, and receivetraining in using notebooks, tape recorders, and stilland video cameras to record cultural information.Basic ethnographic fieldwork techniques such asdictionary-making and the recording of genealogiesare also learnt, as are the more general aims andmethodologies of cultural heritage preservation anddevelopment. This training takes place in annualtwo-week workshops held at the Cultural Centre’shead office in Port Vila. At this time eachfieldworker presents their research findings on aparticular topic identified for that year’s workshop,and learns of the corresponding kastom in otherareas of Vanuatu from the reports of otherfieldworkers. These presentations are recorded,thereby preserving this important information.

Fieldworkers also learn in the workshop of theprograms fieldworkers from other areas aredeveloping to encourage the maintenance andrevival of cultural traditions. Most fieldworkersare involved (to varying levels) in work to transcribetheir oral vernacular languages into written forms,starting with the creation of word lists anddictionaries. Some of the more experiencedfieldworkers have been involved in major initiativesof cultural research and revival in their respectiveareas, often with very little support from outside.One of the most common of these initiatives hasbeen the organisation and/or facilitation of theperformance of traditional ceremonies and rituals,and in particular the reconstruction and revival ofcertain rituals from living memory into performanceand contemporary life. Another has been theorganisation of community arts festivals whichprovide an opportunity for the performance andlearning of traditional songs, dances, practices andrituals. Perhaps one of the more significant of suchinitiatives is the establishment of community‘cultural centres’ (similar to Australian aboriginal‘keeping houses’), which particular culturalcommunities or clans can use as centres forcommunity cultural activities and as storehousesand display areas for aspects of their culturalheritage (including old photographs and writtenrecords). To date only two of such centres havebeen established, but it is a principal long-term goalof the Cultural Centre to assist the establishment ofsuch centres for each cultural community in thenation.

Fieldworkers perform an indispensable role as localcommunity liaisons, facilitators and organisers forthe programs and work of the Cultural Centre. Atthe most practical level, fieldworkers organise andfacilitate the recording of important rituals, practicesand cultural and historic sites by Cultural Centrestaff, who come to the community with equipmentto record in written, audio, audiovisual andphotographic formats. The recorded material isarchived in the main (purpose-built) Cultural Centrebuilding in the national capital, while copies ofrelevant material is returned to the community (allrecorded material remains the property of thetraditional owners).

A particularly important part of this liaison work isfor the fieldworker to explain the purpose of suchrecording, to obtain the approval and ‘priorinformed consent’ of the traditional owners/custodians for such recording to take place and alsoto ensure the participation of the practitioners inthe recording activities themselves. Suchparticipation relies on a level of awareness aboutthe Cultural Centre’s cultural heritage work, whichthe fieldworker is responsible for imparting to thecommunity. The fieldworker is assisted in this bythe normal promotional programs of the CulturalCentre, such as our weekly radio program onnational radio. Under the Vanuatu CulturalResearch Policy, all foreign researchers and film-makers are also required to undertake any work onlocal cultures with the active participation of localcommunities through the fieldworkers in a similarfashion.

All fieldworkers are volunteers – they do theircultural heritage work in the time they have off fromtheir day-to-day lives. All fieldworkers are alsomembers of the cultural communities theyrepresent, speak the community language andactually live in those communities. While thefieldworkers network has been comprised solely ofmen for much of its existence, in 1993 the firstworkshop for women fieldworkers was held. Thereare now over 60 men and over 40 womenfieldworkers of the Cultural Centre. Fundingallowing, the aim is to have one man and onewoman fieldworker for every cultural group in thecountry. This is seen as the best solution to theproblems of (a) dealing with cultural diversitywithin the nation from within the nationalinstitution, (b) dealing with a ‘living’ and largely


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‘intangible’ culture, and (c) effecting genuinecommunity participation in the management of theirown cultural heritage.

Activities particularly targeting intangible culturalheritage

Film and sound recording: The National Filmand Sound Unit of the Vanuatu Cultural Centre haswhat is acknowledged to be the largest and bestkept collection of audiovisual material in the PacificIslands. This collection has been built up over thelast 25 years in particular, by fieldworkers makingrecordings themselves and also assisting CulturalCentre staff and foreign researchers and film-makers to make them (through the processesoutlined above). The Pacific Islands MuseumsAssociation (PIMA) has identified the CulturalCentre to be the lead institution in the audiovisualarchiving field in the Pacific region, to beresponsible for conducting training and archivingactivities for other Pacific Island museums. In thelast 4 years, foreign aid donors (and particularlyUNESCO) have funded substantial equipmentupgrades which means that the Cultural Centre nowhas a state-of-the-art film and sound recording,production and archiving facilities. The NationalFilm and Sound Unit is engaged in ongoing filmand sound documentation of cultural activities andhistoric events happening in Vanuatu, while at thesame time transferring the older parts of thecollection onto new digital archive formats.

Cultural and historic sites: Over 1000 cultural andhistoric sites have been registered by the CulturalCentre. These include archaeological sites, sacredand ritually-important sites, sites associated withhistoric activity (eg. old villages and agriculturalsites) and post-European-era buildings. All these sites(excepting some archaeological sites) are given theirprovenance by oral narratives, which often alsocomprise performance aspects and songs. In fact,we have found that the activity of registering sites isperhaps the most efficient way of accessing (andrecording) traditional/indigenous knowledge relatingto all areas of human endeavour (history, use of theenvironment, spiritual beliefs, rituals, etc). Vanuatuhas this year ratified the World Heritage Convention,and we look forward to receiving financial assistancesoon to continue registering sites throughout thecountry.

Promotion activities:Local community level: Every year there arenumerous cultural promotion activities undertakenat the local community level. 2002, for example,saw the first arts festivals undertaken by the Melkenand Lamap cultural communities of Malakula islandand the Varsu cultural community of Epi island.These festivals celebrating the cultural expressionsand heritage of a single culture (but whichneighbouring cultures are invited to participate in)have only begun to happen since the year 2000, andmark an important new step in communities’management of their cultural heritage. A traditionalfood workshop and demonstration by the culturalcommunity of north Ambae island also targeted asingle culture, and in particular the food and food-makers (i.e. the women) of that culture. 2002 alsosaw the first arts festival organised at a Provinciallevel, which was also the first festival celebratingwomen’s culture in particular (the Torba WomensArts Festival). All these festivals were assisted bythe Cultural Centre and/or its fieldworkers.National level: The national Government hasunfortunately not organized a national arts festival -taking together all cultural communities in Vanuatu– for 10 years now. When first initiated by theGovernment in 1979, these National Arts Festivalswere supposed to happen every four years. Therehave in fact been only two ever staged. The CulturalCentre sees arts festivals as one of the most importantmechanisms for promoting intangible culturalheritage, but given the lack of (funding) commitmentby the government, we have instead focused onencouraging community initiatives (like those listedabove) and finding funding for these. The hostingof the 2nd Melanesian Arts and Cultural Festival inVanuatu in 2002 (involving New Caledonia and Fiji)was an opportunity to involve groups from all six ofVanuatu’s Provinces, and also many groups based inPort Vila, and contributed to cultural promotion at anational level.


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Appendix:

Policy, legal and institutional frameworks for theprotection and promotion of intangible heritage inVanuatu

Institutional framework- Matters of cultural heritage management are the

responsibility of the Ministry of Internal Affairs.- Other Government agencies which deal with

matters of cultural heritage management are theNational Archives and the Culture and ReligionLiaison Office of the Ministry of Internal Affairs.

- The work of the National Council of Chiefs (astatutory body) often impacts upon issues ofcultural heritage management.

- HOWEVER, the main implementing agency forcultural heritage management is the VanuatuCultural Centre. The Cultural Centre isestablished under law (a statutory body) by theVanuatu National Cultural Council Act.

PROFILE : The Vanuatu National Cultural Coun-cil and Vanuatu Cultural CentreThe Vanuatu National Cultural Council wasestablished by an act of Parliament in 1988 withthe object of providing for “the preservation,protection and development of various aspects ofthe rich cultural heritage of Vanuatu, for theprovision of public libraries and for the preservationof public records and archives” (Vanuatu NationalCultural Council act, cap.186).The Vanuatu Cultural Centre (which has existed invarious forms since the early 1960s), is identifiedin the Vanuatu National Cultural Council Act as theprincipal national institution responsible forexecuting this objective, and is further identifiedas consisting of the following bodies:- the National Museum;- the National Library;- the National Film and Sound Unit; and- the National Cultural and Historic Sites Survey.Other permanent sections of the Cultural Centre thatare not named in the governing act are the WomensCulture Project (established in 1993) and theVanuatu Young Peoples Project (established in1997).

The National Archives, which by reason of itsconcern with written and otherwise recordeddocuments is solely concerned with Vanuatu’s post-European-contact heritage, was established as a

separate institution by a subsequent act ofParliament (National Archives act, Act 13 of 1992).In terms of the management of the cultural heritageof Vanuatu, then, the National Cultural Council isthe highest national policy-making body (apart fromthe Minister) and the Vanuatu Cultural Centre theprincipal national executing body.

It is worth noting that virtually all functions ofcultural heritage management in Vanuatu arecentralised within the one institution – this hasassisted in addressing the largely intangible heritageof the country, as often this heritage cannot be easilycategorised within one particular field (such as sites,artifacts or sound recordings).

The tasks that the Cultural Centre performs include:1) The development of national cultural policy;2) The organisation of national and international cul-

tural and arts festivals, workshops and confer-ences;

3) The sponsoring and coordination of programs ofcultural research in the country;

4) The provision of national library services,including a role as the national book depository;

5) The maintenance of a collection of all literaturewritten about Vanuatu in the “Vanuatu Collection”of the National Library;

6) The identification, survey and protection of sitesof cultural and historic significance and themaintenance of a register of these sites;

7) The collection of rare and important pieces ofmaterial culture for storage and display in theNational Museum;

8) The identification and repatriation of culturalheritage collections held overseas, includingobtaining copies of early photographs, soundrecordings, literature and films;

9) The recording and documentation of the historyand traditions of the country, mostly on audio tape;

10) The recording on video of aspects of the historyand traditions of the country, including customaryperformances, rituals and historic events;

11) The provision of video recording services torecord miscellaneous events at the request of thepublic;

12) The production and publication of informationaland educational materials in literary, audio andaudiovisual formats;

13) Generally, responsibility for the management ofthe cultural heritage of the country.


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Legal frameworkThere is no comprehensive or up-to-date legislationdealing with the protection and management of cul-tural heritage (tangible or intangible) in Vanuatu.Relevant legislation that provides a basis for legaland non-legal protection of cultural heritage includesthe following:National Constitution: The preamble to theConstitution establishes Vanuatu as a nation foundedon “traditional Melanesian values”. Article 7 declaresthat parents have a fundamental duty to educate theirchildren in their own culture and customs. Articles29 and 30 establish the National Council of Chiefsand their role to make recommendations for thepreservation and protection of ni-Vanuatu culture andlanguage. Article 95 states that customary laws areto have effect as the laws of Vanuatu.Vanuatu National Cultural Council act (cap.186):Establishes the Vanuatu National Cultural Council“for the preservation, protection and development ofvarious aspects of the rich cultural heritage ofVanuatu”. The Council is also responsible for allnational cultural heritage institutions.Preservation of sites and artifacts act (cap.39):Provides for the protection of cultural and historicsites by the Minister responsible for culture, andprohibits the export of items of material culture ofspecial significance or over ten years old.Island Courts act (cap.167): Provides for therepresentation of chiefs and customary experts onisland courts which solve disputes specifically inareas of traditional culture (and particularly landdisputes). The island courts have the power tointerpret customary law.Other: Elements of the criminal code relating to thedesecration of burials and legislative provisionsprotecting the right to religious expression couldpotentially be used to protect aspects of indigenouscultural expressions, however this has yet to be testedin a court of law.There is also important forthcoming legislation - theCopyright, Trademark, Patents, and Designs bills -that addresses cultural heritage in the context of theprotection of intellectual property rights. All thesebills have been drafted, but only the Copyright Billhas been passed by Parliament (but even this has yetto be gazetted and therefore come into effect). Allthese bills have specific provisions dealing withindigenous knowledge and expressions of indigenousculture. All these provisions make it an offence toreproduce or otherwise use such expressions if:- the user is not one of the custom owners;

- the use has not been authorized by the customowners;

- the person has not used the expression inaccordance with the rules of custom.

The National Cultural Council and National Councilof Chiefs are given the power under these bills to actas the custodian of copyright on behalf of disputingcustom owners or if an owner cannot be identified.These bills therefore do not establish clear rules forthe use of indigenous knowledge and expressions,but rather prevent their improper use while facilitatingtheir continued use in the realm of custom. Giventhe extensive consultation that will need to beundertaken with all cultural communities to designan appropriate legal instrument for the protection oftheir knowledge and expressions, this emphasis onthe prevention of the improper use of this heritage inthese bills is seen as a good interim measure to ensuretheir protection.

Policy frameworkThere is no official national policy in the area ofculture or cultural heritage management in Vanuatu.Two policy statements that are useful are as follows:Kastom Polisi Blong Malvatumauri: An extensivedocument which details the customary policy of theMalvatumauri or National Council of Chiefs. Policiesin a wide range of fields are outlined, including landownership, environmental protection, migration andthe preservation of language and all aspects oftraditional cultures. However, the Kastom Polisi isnot supported in legislation and has come to servemore as a guideline for elected member chiefs of theMalvatumauri themselves. Published in 1983, manyof the declarations of the policy have been supercededby chiefly declarations on the ground. Work is nowunderway to enact legislation which would providelegal backing to many of these policies.

Vanuatu Cultural Research Policy: Developedprincipally to provide guidelines for research byforeigners (particularly anthropologists and film-makers) into ni-Vanuatu cultures, this policy isimplemented by the Vanuatu National CulturalCouncil under its legislated powers. It has providedan effective tool for ensuring local consultation andparticipation in such activities since its institution in1995 (it was revised in 2001). In the absence of anofficial national cultural policy, it also provideselements of a de facto policy statement for theVanuatu National Cultural Council and Cultural


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Centre. The “Guiding principles” of the Policy, forexample, are as follows:- “kastom” means indigenous knowledge and

practice and the ways it is expressed andmanifested;

- kastom embodies and expresses the knowledge,practices and relationships of the people ofVanuatu and encompasses and distinguishes themany different cultures of Vanuatu;

- the people of Vanuatu recognise the importanceof knowing, preserving and developing theirkastom and history;

- kastom belongs to individuals, families, lineagesand communities in Vanuatu. Any research onkastom must, in the first instance, respond to andrespect the needs and desires of those people towhom the kastom belongs;

- research in practice is a collaborative ventureinvolving researchers, individual and groups ofinformants, local communities, chiefs andcommunity leaders, cultural fieldworkers, culturaladministrative bodies and local and nationalgovernments, and must be approached as such.

Nha Nhac, proclaimed as a Masterpiece of the Oraland Intangible HeritageHumanity in November2003

(1) Why and how the particular culturalexpression was selected for candidatureWHY?

– Vietnamese Court Music appeared in the 10thcentury under the Ly Dynasty and developed throughthe Tran (13th Cent.), Le (15th – 19th Cent.), andNguyen (19th – 20th Cent.) dynasties. In the earlyLe Dynasty when feudalism was established, the LeThai Tong King imported and absorbed ChineseYaYueh (1437) following and applying all theprinciples and conceptions of this Chinese CourtMusic, but also Vietnamizing it.

- After nearly ten centuries of development theNha Nhac (Vietnamese pronunciation of YaYueh)become one of the typical expressions of the

Viet Nam

Prof. Dr. To Ngoc ThanhPresident, Association of VietnameseFolklorists

Vietnamese cultural soul, and of the creative musicaltalents of the people.

- Nha nhac essentially expresses the nationalcultural identity in its use traditional musicalcharacteristics such as the special musical scale, thestructural unit of four rhythmic beats, the method ofmelodic development, the aesthetic concept of therelationship between melodic skeleton andimprovised ornaments etc… all these features arerooted in our traditional folk and professional music.

- Originating from principles and conceptions ofChinese Ya Yueh, together with Japanese Gagaku andKorean Aak, Nha Nhac is one national version of aregional common cultural asset popular in Vietnamand Eastern Asian countries.

- After the Democratic Revolution of August,when 1945 the last feudal Nguyen monarchy ended,Nha Nhac fell into neglect. The instrumentalists ofthe former Court Orchestra gradually passed awayand Nha Nhac itself fell into oblivion and is in dangerof disappearing.

HOW?- Although Nha Nhac was not used in the cultural

life of the people, we have collected all performancesof its repertory since 1977 on film.

- A large part of the Nha Nhac repertory has beenintegrated, modified, and improved, and has becomea component of other professional musical repertoriessuch as that of the Hue City Chamber MusicOrchestra in Southern Vietnam.

- In March, 1994, UNESCO organized aworkshop entitled “Preservation and Promotion ofCultural Intangible Heritage of Hue Region” withthe participation of international experts. At thisworkshop the professors Tokumaru Ioshihiko,Yamaguchi Osamu (from Japan), Jose Maceda (fromPhilippines), Tran Van Khe and To Ngoc Thanh (fromVietnam) put forth a project for the restoration andteaching of Nha Nhac.

- Thanks to the financial sponsorship of the JapanFoundation and in part, Sumitomo Foundation, NhaNhac was collected more extensively and was taughttrained in the Faculty of Music at Hue Institute ofArts.

- Thanks to the newly-collected material from thethree surviving instrumentalists of the former CourtOrchestra, together with textual and sound materialsfrom archives, we have quite enough material to beconsidered for candidature.


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(2) Difficulties faced during the selection of thecandidate.

- Because the Nha Nhac was not performed incultural practice, ordinary people, including theauthorities and even some scholars, know little aboutit. They do not understand the functions, contents,features, social and cultural roles and historicalsignificance of Nha Nhac. When we decided to applyfor candidature, we were not in unanimousagreement. Thus, we had to organize a scientificworkshop titled “Preservation and Promotion of theFormer Court Music – Nha Nhac”.

- Some cultural policy makers who were standingon an ideological platform, considered that Nha Nhacwas the production of feudalism ideology so it wasnot worthy to become the representative of ourtraditional culture. They were persuaded only afterthe above workshop.

- The most difficult issue is that the Vietnamesenation is composed of 54 ethnic groups of whichcatch has its own traditional culture with unique andexcellent cultural expressions. In accordance withthe Guide to Masterpieces candidature, we haveselected at least ten cultural expressions and spaces,among which Nha Nhac is in the first rank is the tenlisted cultural objects express a balanced view ofculture among the 54 ethnic groups, and Nha Nhacis just one of them.

( 3 ) C u r re n t s i t u a t i o n re g a r d i n g t h eimplementation of the Action Plan.

The main aims of the Action Plan are as follows:- To popularize the multifaceted values of Nha

Nhac, thus highlighting and strengthening theawareness and knowledge of people – both ofauthorities and ordinary people - as regards the taskof preservation and promotion of this culturaltreasure.

- To continue to teach and transmit the Nha Nhacto younger people through formal and non-formaleducation.

Current situationPositive:

- The inclusion of Nha Nhac in the Proclamationof Masterpieces stimulated great popular in it. Somagazines, newsletters, reviews, radio and televisionprogrammes have published or broadcast informationabout Nha Nhac. The publications mentioneddifferent aspects of Nha Nhac such as its historical

development, its philosophic – cosmogonicsignificance, ritual – ceremonial function, thecomposition of different kinds of orchestras, structureof musical form, features of musical rhythm, melody,scales, nuances of performing method etc…

- The publications contribute to the spread ofknowledge about Nha Nhac among the people.

- The authorities, at provincial and national levels,recognizing more and more the real multifacetedvalues of Nha Nhac. They have some concrete supportto maintain and promote the Nha Nhac, such asproviding a budget for continuing the Nha Nhac classin Hue Institute of Arts; providing budget and staffto establish a Nha Nhac Performing Troupe in Centrefor Preservation of the Ancient Capital, Hue.

- The government supports the continuing thecollection of historical and musical materialsconcerning Nha Nhac.

Negative:It is difficult to recruit new students for the Nha Nhacclass of Hue Institute of Arts because they worry thatafter graduation they will not be able to find a job forearn their living. Actually in order to maintain theNha Nhac, it only needs an orchestra consisting ofaround 40 musicians, and the orchestra is now full.

Some scholars and authorities consider that the NhaNhac should be “enriched and developed”, becausethe traditional form is so poor in its orchestrationmethod, is so “backwards” because the pieces haveonly andante and moderato movements. Now, in orderto be modernized, the Nha Nhac orchestra has to be“improved” by the way of symphonic orchestration.In the past only one of each kind of instrument wasused in the orchestra and they performed by way of a“dialogue and multilogue” between instruments.Now, following the conceptions of symphonic music,there are ten of each kind of instrument and they playin harmony polyphony. As a result, the symphonicizedNha Nhac has destroyed all the features andcharacteristics of traditional Nha Nhac.

It is lucky for us that we have stopped this trend intime.

(4) Other heritage that was considered forcandidature:

According to the discussion of our NationalCommittee of Cultural Heritage, we intended to


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present to UNESCO a list of cultural expressions andspaces as follows:1. Highland – a cultural space with a tradition of

singing/reciting archaic epics. This area isinhabited by around 20 ethnic minorities.

2. A kind of song-dance theatre “Ro Bam“ whichperforms the Indian epic Ramayana.

3. The cultural space where the customs and thecreative talents of the gong ensembles are popularas performing arts among the local people, whoare of various minorities.

4. The alternating singing between girls and boys,mainly in the springtime ceremony, popular in 49villages from Bac Ninh province, around 30kmnorth of Hanoi. This Kwan Ho singing, in fact, isa competition of improvising not only lyrics butalso melodies.

5. Knowledge and skill of among the minoritiesinhabiting Northern Vietnam.

6. The traditional puppetry, especially water puppetry.7. Knowledge and skill of terracotta craft among the

Champa people.8. The Music of Amateurs of the people from

Southern Vietnam.9. The aristocratic chamber music of CaTru – A sort

of Confucian chamber music.10. Hue chamber music. This is a kind of chamber

music popular among the aristocracy sphere ofancient Hue city.

These objects could be changed depending on theselection of the Committee and the decision ofGovernment.

2. Revise the country information(1) i. In the paragraph: “Legislation in this field”should be revised as follows: The National Law forcultural heritage” was approved by NationalAssembly at its tenth session/ term 1997 - 2001 onOctober 2001.

ii. In the paragraph “Inventories/ directories”should be added as follows: “The Association ofVietnamese Folklorists (AVF) has put together a long-term programme entitled “View toward year 2010”.The AVF recognized that all bearers, informers,singers, dancers etc….. of traditional intangiblecultural heritage now are in their 70s or 80s. If we donot urgently collect all the knowledge which thesepeople preserve in their memories, so after 2010 wewill have nothing to collect because they will all bedead. The concrete actions to implement thisprogramme are as follows:

- Each provincial branch of AVF has to list all

uncollected heritage in its own provincial territory- Then the branch must divide all objects needed

to be collected into an annual action plan and mobilizeall its own members to implement this plan.

- The National Standing Committee of AVF mustfind funds, totaling at least around US$100,000 peryear. The Committee must also organize theprovincial or regional training courses to train its ownmembers and collaborators in the knowledge andmethods of collecting materials during and after field-work; the methods of preservation, revitalization andpromotion of heritage in a local area.

- The AVF gives rewards with an honorarynational title “The Master of Folklore” to theoutstanding famous masters of various kinds offolklore and intangible cultural heritage, includingperforming arts. The Reward is based on UNESCO’sRecommendation on the title “Living HumanTreasures” and on the Rules of AVF.”

iii- In the paragraph: “National level agency/organization dedicated to preservation and promotionof traditional/ folk performing arts” should be added:At the end of 2001, after approving the “Law forcultural heritage” the National Committee for culturalheritage was established. The Committee iscomposed of members from the Ministry of Cultureand Information, Vietnam National Commission forUNESCO and AVF.

(2) Case studies…(a) Public awareness is increasing especially after

the First Proclamation of Masterpieces. Villagerswho are inheriting the heritage restore andrevitalize it the heritage themselves without thesupport of concerned agencies.

(b) With the programme “View toward 2010” theAVF is managing the inventory of the heritagefund in the culture of 54 ethnic groups.

(c) It is encouraging and supporting training to passdown the heritage from old performers to youngerpeople.

(d) For the preservation of endangered heritage theAVF, in collaboration with local villagers organizea training course for the young villagers. Then itorganizes a competition among trainees.

(3) Follow-up activities….- “Living Human Treasures” is a very honorable

title. How will this Recommendation be enforced?Do we need to discuss this issue?

- Nowadays, besides the Rule of Proclamation of


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Masterpieces, we have approved the Convention onSafeguarding Intangible Cultural Heritage and wehave coming up, the “Convention on CulturalDiversity”. How can we combine the spirit and thelegislative articles and paragraphs of theseConventions to apply them to our common task ofpreservation and promotion of intangible culturalheritage?

(4) What do I expect form this Meeting?For many years, ACCU has been a cultural centrewith the power to gather the common interests ofcountries in the region. An ACCU Meeting is alwaysan interesting, open and very useful forum fordiscussion of our common issues. I expect to learnabout many good experiences from other participantsin the field of Preservation and Promotion ofIntangible Cultural Heritage.


Annex 11. Convention for the Safeguarding of the

Intangible Cultural Heritage2. List of the items of the Second Proclamation of

Masterpieces of the Oral and IntangibleHeritage of Humanity, November 2003

Annex 21. General Information2. Meeting Schedule3. Opening Speeches4. List of Participants



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1. Convention for the Safeguarding of the Intangible Cultural Heritage

ANNEX 1

The General Conference of the United Nations Educational, Scientific and CulturalOrganization hereinafter referred to as UNESCO, meeting in Paris, from 29 September to17 October 2003, at its 32nd session,

Referring to existing international human rights instruments, in particular to the UniversalDeclaration on Human Rights of 1948, the International Covenant on Economic, Social andCultural Rights of 1966, and the International Covenant on Civil and Political Rights of 1966,

Considering the importance of the intangible cultural heritage as a mainspring of culturaldiversity and a guarantee of sustainable development, as underscored in the UNESCORecommendation on the Safeguarding of Traditional Culture and Folklore of 1989, in theUNESCO Universal Declaration on Cultural Diversity of 2001, and in the IstanbulDeclaration of 2002 adopted by the Third Round Table of Ministers of Culture,

Considering the deep-seated interdependence between the intangible cultural heritage and thetangible cultural and natural heritage,

Recognizing that the processes of globalization and social transformation, alongside theconditions they create for renewed dialogue among communities, also give rise, as does thephenomenon of intolerance, to grave threats of deterioration, disappearance and destruction ofthe intangible cultural heritage, in particular owing to a lack of resources for safeguardingsuch heritage,

Being aware of the universal will and the common concern to safeguard the intangiblecultural heritage of humanity,

Recognizing that communities, in particular indigenous communities, groups and, in somecases, individuals, play an important role in the production, safeguarding, maintenance and re-creationof the intangible cultural heritage, thus helping to enrich cultural diversity and humancreativity,

Noting the far-reaching impact of the activities of UNESCO in establishing normativeinstruments for the protection of the cultural heritage, in particular the Convention for theProtection of the World Cultural and Natural Heritage of 1972,

Noting further that no binding multilateral instrument as yet exists for the safeguarding of theintangible cultural heritage,

Considering that existing international agreements, recommendations and resolutionsconcerning the cultural and natural heritage need to be effectively enriched and supplementedby means of new provisions relating to the intangible cultural heritage,

Considering the need to build greater awareness, especially among the younger generations,of the importance of the intangible cultural heritage and of its safeguarding,

Considering that the international community should contribute, together with the StatesParties to this Convention, to the safeguarding of such heritage in a spirit of cooperation andmutual assistance,


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Recalling UNESCO’s programmes relating to the intangible cultural heritage, in particular theProclamation of Masterpieces of the Oral and Intangible Heritage of Humanity,

Considering the invaluable role of the intangible cultural heritage as a factor in bringinghuman beings closer together and ensuring exchange and understanding among them,Adopts this Convention on this seventeenth day of October 2003.

I. General provisions

Article 1 – Purposes of the ConventionThe purposes of this Convention are:

(a) to safeguard the intangible cultural heritage;

(b) to ensure respect for the intangible cultural heritage of the communities, groupsand individuals concerned;

(c) to raise awareness at the local, national and international levels of the importanceof the intangible cultural heritage, and of ensuring mutual appreciation thereof;

(d) to provide for international cooperation and assistance.

Article 2 – Definitions

For the purposes of this Convention,

1. The “intangible cultural heritage” means the practices, representations, expressions,knowledge, skills – as well as the instruments, objects, artefacts and cultural spaces associatedtherewith – that communities, groups and, in some cases, individuals recognize as part of theircultural heritage. This intangible cultural heritage, transmitted from generation to generation,is constantly recreated by communities and groups in response to their environment, theirinteraction with nature and their history, and provides them with a sense of identity andcontinuity, thus promoting respect for cultural diversity and human creativity. For thepurposes of this Convention, consideration will be given solely to such intangible culturalheritage as is compatible with existing international human rights instruments, as well as withthe requirements of mutual respect among communities, groups and individuals, and ofsustainable development.

2. The “intangible cultural heritage”, as defined in paragraph 1 above, is manifested interalia in the following domains:

(a) oral traditions and expressions, including language as a vehicle of the intangiblecultural heritage;

(b) performing arts;

(c) social practices, rituals and festive events;

(d) knowledge and practices concerning nature and the universe;

(e) traditional craftsmanship.


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3. “Safeguarding” means measures aimed at ensuring the viability of the intangiblecultural heritage, including the identification, documentation, research, preservation,protection, promotion, enhancement, transmission, particularly through formal and non-formaleducation, as well as the revitalization of the various aspects of such heritage.

4. “States Parties” means States which are bound by this Convention and among whichthis Convention is in force.

5. This Convention applies mutatis mutandis to the territories referred to in Article 33which become Parties to this Convention in accordance with the conditions set out in thatArticle. To that extent the expression “States Parties” also refers to such territories.

Article 3 – Relationship to other international instruments

Nothing in this Convention may be interpreted as:

(a) altering the status or diminishing the level of protection under the 1972Convention concerning the Protection of the World Cultural and Natural Heritageof World Heritage properties with which an item of the intangible culturalheritage is directly associated; or

(b) affecting the rights and obligations of States Parties deriving from anyinternational instrument relating to intellectual property rights or to the use ofbiological and ecological resources to which they are parties.

II. Organs of the Convention

Article 4 – General Assembly of the States Parties

1. A General Assembly of the States Parties is hereby established, hereinafter referred toas “the General Assembly”. The General Assembly is the sovereign body of this Convention.

2. The General Assembly shall meet in ordinary session every two years. It may meet inextraordinary session if it so decides or at the request either of the IntergovernmentalCommittee for the Safeguarding of the Intangible Cultural Heritage or of at least one-third ofthe States Parties.

3. The General Assembly shall adopt its own Rules of Procedure.

Article 5 – Intergovernmental Committee for the Safeguardingof the Intangible Cultural Heritage

1. An Intergovernmental Committee for the Safeguarding of the Intangible CulturalHeritage, hereinafter referred to as “the Committee”, is hereby established within UNESCO.It shall be composed of representatives of 18 States Parties, elected by the States Partiesmeeting in General Assembly, once this Convention enters into force in accordance withArticle 34.

2. The number of States Members of the Committee shall be increased to 24 once thenumber of the States Parties to the Convention reaches 50.


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Article 6 – Election and terms of office of States Members of the Committee

1. The election of States Members of the Committee shall obey the principles of equitablegeographical representation and rotation.

2. States Members of the Committee shall be elected for a term of four years by StatesParties to the Convention meeting in General Assembly.

3. However, the term of office of half of the States Members of the Committee elected at thefirst election is limited to two years. These States shall be chosen by lot at the firstelection.

4. Every two years, the General Assembly shall renew half of the States Members of theCommittee.

5. It shall also elect as many States Members of the Committee as required to fillvacancies.

6. A State Member of the Committee may not be elected for two consecutive terms.

7. States Members of the Committee shall choose as their representatives persons who arequalified in the various fields of the intangible cultural heritage.

Article 7 – Functions of the Committee

Without prejudice to other prerogatives granted to it by this Convention, the functions of theCommittee shall be to:

(a) promote the objectives of the Convention, and to encourage and monitor theimplementation thereof;

(b) provide guidance on best practices and make recommendations on measures forthe safeguarding of the intangible cultural heritage;

(c) prepare and submit to the General Assembly for approval a draft plan for the useof the resources of the Fund, in accordance with Article 25;

(d) seek means of increasing its resources, and to take the necessary measures to thisend, in accordance with Article 25;

(e) prepare and submit to the General Assembly for approval operational directivesfor the implementation of this Convention;

(f) examine, in accordance with Article 29, the reports submitted by States Parties,and to summarize them for the General Assembly;

(g) examine requests submitted by States Parties, and to decide thereon, inaccordance with objective selection criteria to be established by the Committeeand approved by the General Assembly for:


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(i) inscription on the lists and proposals mentioned under Articles 16, 17 and18;

(ii the granting of international assistance in accordance with Article 22.

Article 8 – Working methods of the Committee

1. The Committee shall be answerable to the General Assembly. It shall report to it on allits activities and decisions.

2 The Committee shall adopt its own Rules of Procedure by a two-thirds majority of itsMembers.

3. The Committee may establish, on a temporary basis, whatever ad hoc consultativebodies it deems necessary to carry out its task.

4. The Committee may invite to its meetings any public or private bodies, as well asprivate persons, with recognized competence in the various fields of the intangible culturalheritage, in order to consult them on specific matters.

Article 9 – Accreditation of advisory organizations

1. The Committee shall propose to the General Assembly the accreditation of non-governmen-tal organizations with recognized competence in the field of the intangible cultural heritage to actin an advisory capacity to the Committee.

2. The Committee shall also propose to the General Assembly the criteria for andmodalities of such accreditation.

Article 10 – The Secretariat

1. The Committee shall be assisted by the UNESCO Secretariat.

2. The Secretariat shall prepare the documentation of the General Assembly and of theCommittee, as well as the draft agenda of their meetings, and shall ensure the implementationof their decisions.

III. Safeguarding of the intangible cultural heritage at the national level

Article 11 – Role of States Parties

Each State Party shall:

(a) take the necessary measures to ensure the safeguarding of the intangible culturalheritage present in its territory;

(b) among the safeguarding measures referred to in Article 2, paragraph 3, identifyand define the various elements of the intangible cultural heritage present in itsterritory, with the participation of communities, groups and relevant non-governmentalorganizations.


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Article 12 – Inventories

1. To ensure identification with a view to safeguarding, each State Party shall draw up, ina manner geared to its own situation, one or more inventories of the intangible culturalheritage present in its territory. These inventories shall be regularly updated.

2. When each State Party periodically submits its report to the Committee, in accordancewith Article 29, it shall provide relevant information on such inventories.

Article 13 – Other measures for safeguarding

To ensure the safeguarding, development and promotion of the intangible cultural heritagepresent in its territory, each State Party shall endeavour to:

(a) adopt a general policy aimed at promoting the function of the intangible culturalheritage in society, and at integrating the safeguarding of such heritage intoplanning programmes;

(b) designate or establish one or more competent bodies for the safeguarding of theintangible cultural heritage present in its territory;

(c) foster scientific, technical and artistic studies, as well as research methodologies,with a view to effective safeguarding of the intangible cultural heritage, inparticular the intangible cultural heritage in danger;

(d) adopt appropriate legal, technical, administrative and financial measures aimed at:

(i) fostering the creation or strengthening of institutions for training in themanagement of the intangible cultural heritage and the transmission of suchheritage through forums and spaces intended for the performance orexpression thereof;

(ii) ensuring access to the intangible cultural heritage while respectingcustomary practices governing access to specific aspects of such heritage;

(iii) establishing documentation institutions for the intangible cultural heritageand facilitating access to them.

Article 14 – Education, awareness-raising and capacity-building

Each State Party shall endeavour, by all appropriate means, to:

(a) ensure recognition of, respect for, and enhancement of the intangible culturalheritage in society, in particular through:

(i) educational, awareness-raising and information programmes, aimed at thegeneral public, in particular young people;

(ii) specific educational and training programmes within the communities andgroups concerned;


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(iii) capacity-building activities for the safeguarding of the intangible culturalheritage, in particular management and scientific research; and

(iv) non-formal means of transmitting knowledge;

(b) keep the public informed of the dangers threatening such heritage, and of theactivities carried out in pursuance of this Convention;

(c) promote education for the protection of natural spaces and places of memorywhose existence is necessary for expressing the intangible cultural heritage.

Article 15 – Participation of communities, groups and individuals

Within the framework of its safeguarding activities of the intangible cultural heritage, eachState Party shall endeavour to ensure the widest possible participation of communities, groupsand, where appropriate, individuals that create, maintain and transmit such heritage, and toinvolve them actively in its management.

IV. Safeguarding of the intangible cultural heritage at the international level

Article 16 – Representative List of the Intangible Cultural Heritage of Humanity

1. In order to ensure better visibility of the intangible cultural heritage and awareness of itssignificance, and to encourage dialogue which respects cultural diversity, the Committee,upon the proposal of the States Parties concerned, shall establish, keep up to date and publisha Representative List of the Intangible Cultural Heritage of Humanity.

2. The Committee shall draw up and submit to the General Assembly for approval thecriteria for the establishment, updating and publication of this Representative List.

Article 17 – List of Intangible Cultural Heritage in Need of Urgent Safeguarding

1. With a view to taking appropriate safeguarding measures, the Committee shall establish,keep up to date and publish a List of Intangible Cultural Heritage in Need of UrgentSafeguarding, and shall inscribe such heritage on the List at the request of the State Partyconcerned.

2. The Committee shall draw up and submit to the General Assembly for approval thecriteria for the establishment, updating and publication of this List.

3. In cases of extreme urgency – the objective criteria of which shall be approved by theGeneral Assembly upon the proposal of the Committee – the Committee may inscribe an itemof the heritage concerned on the List mentioned in paragraph 1, in consultation with the StateParty concerned.

Article 18 – Programmes, projects and activities for the safeguardingof the intangible cultural heritage

1. On the basis of proposals submitted by States Parties, and in accordance with criteria tobe defined by the Committee and approved by the General Assembly, the Committee shallperiodically select and promote national, subregional and regional programmes, projects and


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activities for the safeguarding of the heritage which it considers best reflect the principles andobjectives of this Convention, taking into account the special needs of developing countries.

2. To this end, it shall receive, examine and approve requests for international assistancefrom States Parties for the preparation of such proposals.

3. The Committee shall accompany the implementation of such projects, programmes andactivities by disseminating best practices using means to be determined by it.

V. International cooperation and assistance

Article 19 – Cooperation

1. For the purposes of this Convention, international cooperation includes, inter alia, theexchange of information and experience, joint initiatives, and the establishment of amechanism of assistance to States Parties in their efforts to safeguard the intangible culturalheritage.

2. Without prejudice to the provisions of their national legislation and customary law andpractices, the States Parties recognize that the safeguarding of intangible cultural heritage is ofgeneral interest to humanity, and to that end undertake to cooperate at the bilateral,subregional, regional and international levels.

Article 20 – Purposes of international assistance

International assistance may be granted for the following purposes:

(a) the safeguarding of the heritage inscribed on the List of Intangible CulturalHeritage in Need of Urgent Safeguarding;

(b) the preparation of inventories in the sense of Articles 11 and 12;

(c) support for programmes, projects and activities carried out at the national,subregional and regional levels aimed at the safeguarding of the intangiblecultural heritage;

(d) any other purpose the Committee may deem necessary.

Article 21 – Forms of international assistance

The assistance granted by the Committee to a State Party shall be governed by the operationaldirectives foreseen in Article 7 and by the agreement referred to in Article 24, and may takethe following forms:

(a) studies concerning various aspects of safeguarding;

(b) the provision of experts and practitioners;

(c) the training of all necessary staff;

(d) the elaboration of standard-setting and other measures;


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(e) the creation and operation of infrastructures;

(f) the supply of equipment and know-how;

(g) other forms of financial and technical assistance, including, where appropriate, thegranting of low-interest loans and donations.

Article 22 – Conditions governing international assistance

1. The Committee shall establish the procedure for examining requests for internationalassistance, and shall specify what information shall be included in the requests, such as themeasures envisaged and the interventions required, together with an assessment of their cost.

2. In emergencies, requests for assistance shall be examined by the Committee as a matterof priority.

3. In order to reach a decision, the Committee shall undertake such studies andconsultations as it deems necessary.

Article 23 – Requests for international assistance

1. Each State Party may submit to the Committee a request for international assistance forthe safeguarding of the intangible cultural heritage present in its territory.

2. Such a request may also be jointly submitted by two or more States Parties.

3. The request shall include the information stipulated in Article 22, paragraph 1, togetherwith the necessary documentation.

Article 24 – Role of beneficiary States Parties

1. In conformity with the provisions of this Convention, the international assistancegranted shall be regulated by means of an agreement between the beneficiary State Party andthe Committee.

2. As a general rule, the beneficiary State Party shall, within the limits of its resources,share the cost of the safeguarding measures for which international assistance is provided.

3. The beneficiary State Party shall submit to the Committee a report on the use made ofthe assistance provided for the safeguarding of the intangible cultural heritage.

VI. Intangible Cultural Heritage Fund

Article 25 – Nature and resources of the Fund

1. A “Fund for the Safeguarding of the Intangible Cultural Heritage”, hereinafter referredto as “the Fund”, is hereby established.

2. The Fund shall consist of funds-in-trust established in accordance with the FinancialRegulations of UNESCO.


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3. The resources of the Fund shall consist of:

(a) contributions made by States Parties;

(b) funds appropriated for this purpose by the General Conference of UNESCO;

(c) contributions, gifts or bequests which may be made by:

(i) other States;

(ii) organizations and programmes of the United Nations system, particularlythe United Nations Development Programme, as well as other internationalorganizations;

(iii) public or private bodies or individuals;

(d) any interest due on the resources of the Fund;

(e) funds raised through collections, and receipts from events organized for thebenefit of the Fund;

(f) any other resources authorized by the Fund’s regulations, to be drawn up by theCommittee.

4. The use of resources by the Committee shall be decided on the basis of guidelines laiddown by the General Assembly.

5. The Committee may accept contributions and other forms of assistance for general andspecific purposes relating to specific projects, provided that those projects have beenapproved by the Committee.

6. No political, economic or other conditions which are incompatible with the objectivesof this Convention may be attached to contributions made to the Fund.

Article 26 – Contributions of States Parties to the Fund

1. Without prejudice to any supplementary voluntary contribution, the States Parties to thisConvention undertake to pay into the Fund, at least every two years, a contribution, theamount of which, in the form of a uniform percentage applicable to all States, shall bedetermined by the General Assembly. This decision of the General Assembly shall be takenby a majority of the States Parties present and voting which have not made the declarationreferred to in paragraph 2 of this Article. In no case shall the contribution of the State Partyexceed 1% of its contribution to the regular budget of UNESCO.

2. However, each State referred to in Article 32 or in Article 33 of this Convention maydeclare, at the time of the deposit of its instruments of ratification, acceptance, approval oraccession, that it shall not be bound by the provisions of paragraph 1 of this Article.

3. A State Party to this Convention which has made the declaration referred to inparagraph 2 of this Article shall endeavour to withdraw the said declaration by notifying theDirector-General of UNESCO. However, the withdrawal of the declaration shall not take


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effect in regard to the contribution due by the State until the date on which the subsequentsession of the General Assembly opens.

4. In order to enable the Committee to plan its operations effectively, the contributions ofStates Parties to this Convention which have made the declaration referred to in paragraph 2of this Article shall be paid on a regular basis, at least every two years, and should be as closeas possible to the contributions they would have owed if they had been bound by theprovisions of paragraph 1 of this Article.

5. Any State Party to this Convention which is in arrears with the payment of itscompulsory or voluntary contribution for the current year and the calendar year immediatelypreceding it shall not be eligible as a Member of the Committee; this provision shall not applyto the first election. The term of office of any such State which is already a Member of theCommittee shall come to an end at the time of the elections provided for in Article 6 of thisConvention.

Article 27 – Voluntary supplementary contributions to the Fund

States Parties wishing to provide voluntary contributions in addition to those foreseen underArticle 26 shall inform the Committee, as soon as possible, so as to enable it to plan itsoperations accordingly.

Article 28 – International fund-raising campaigns

The States Parties shall, insofar as is possible, lend their support to international fund-raisingcampaigns organized for the benefit of the Fund under the auspices of UNESCO.

VII. Reports

Article 29 – Reports by the States Parties

The States Parties shall submit to the Committee, observing the forms and periodicity to bedefined by the Committee, reports on the legislative, regulatory and other measures taken forthe implementation of this Convention.

Article 30 – Reports by the Committee

1. On the basis of its activities and the reports by States Parties referred to in Article 29,the Committee shall submit a report to the General Assembly at each of its sessions.

2. The report shall be brought to the attention of the General Conference of UNESCO.

VIII. Transitional clause

Article 31 – Relationship to the Proclamation of Masterpieces of the Oral andIntangible Heritage of Humanity

1. The Committee shall incorporate in the Representative List of the Intangible CulturalHeritage of Humanity the items proclaimed “Masterpieces of the Oral and Intangible Heritageof Humanity” before the entry into force of this Convention.


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2. The incorporation of these items in the Representative List of the Intangible CulturalHeritage of Humanity shall in no way prejudge the criteria for future inscriptions decidedupon in accordance with Article 16, paragraph 2.

3. No further Proclamation will be made after the entry into force of this Convention.

IX. Final clauses

Article 32 – Ratification, acceptance or approval

1. This Convention shall be subject to ratification, acceptance or approval by StatesMembers of UNESCO in accordance with their respective constitutional procedures.

2. The instruments of ratification, acceptance or approval shall be deposited with theDirector-General of UNESCO.

Article 33 – Accession

1. This Convention shall be open to accession by all States not Members of UNESCO thatare invited by the General Conference of UNESCO to accede to it.

2. This Convention shall also be open to accession by territories which enjoy full internalself-government recognized as such by the United Nations, but have not attained fullindependence in accordance with General Assembly resolution 1514 (XV), and which havecompetence over the matters governed by this Convention, including the competence to enterinto treaties in respect of such matters.

3. The instrument of accession shall be deposited with the Director-General of UNESCO.

Article 34 – Entry into force

This Convention shall enter into force three months after the date of the deposit of the thirtiethinstrument of ratification, acceptance, approval or accession, but only with respect to thoseStates that have deposited their respective instruments of ratification, acceptance, approval, oraccession on or before that date. It shall enter into force with respect to any other State Partythree months after the deposit of its instrument of ratification, acceptance, approval oraccession.

Article 35 – Federal or non-unitary constitutional systems

The following provisions shall apply to States Parties which have a federal or non-unitaryconstitutional system:

(a) with regard to the provisions of this Convention, the implementation of whichcomes under the legal jurisdiction of the federal or central legislative power, theobligations of the federal or central government shall be the same as for thoseStates Parties which are not federal States;

(b) with regard to the provisions of this Convention, the implementation of whichcomes under the jurisdiction of individual constituent States, countries, provincesor cantons which are not obliged by the constitutional system of the federation to


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take legislative measures, the federal government shall inform the competentauthorities of such States, countries, provinces or cantons of the said provisions,with its recommendation for their adoption.

Article 36 – Denunciation

1. Each State Party may denounce this Convention.

2. The denunciation shall be notified by an instrument in writing, deposited with theDirector-General of UNESCO.

3. The denunciation shall take effect twelve months after the receipt of the instrument ofdenunciation. It shall in no way affect the financial obligations of the denouncing State Partyuntil the date on which the withdrawal takes effect.

Article 37 – Depositary functions

The Director-General of UNESCO, as the Depositary of this Convention, shall inform theStates Members of the Organization, the States not Members of the Organization referred toin Article 33, as well as the United Nations, of the deposit of all the instruments ofratification, acceptance, approval or accession provided for in Articles 32 and 33, and of thedenunciations provided for in Article 36.

Article 38 – Amendments

1. A State Party may, by written communication addressed to the Director-General,propose amendments to this Convention. The Director-General shall circulate suchcommunication to all States Parties. If, within six months from the date of the circulation ofthe communication, not less than one half of the States Parties reply favourably to the request,the Director-General shall present such proposal to the next session of the General Assemblyfor discussion and possible adoption.

2. Amendments shall be adopted by a two-thirds majority of States Parties present andvoting.

3. Once adopted, amendments to this Convention shall be submitted for ratification,acceptance, approval or accession to the States Parties.

4. Amendments shall enter into force, but solely with respect to the States Parties that haveratified, accepted, approved or acceded to them, three months after the deposit of theinstruments referred to in paragraph 3 of this Article by two-thirds of the States Parties.Thereafter, for each State Party that ratifies, accepts, approves or accedes to an amendment,the said amendment shall enter into force three months after the date of deposit by that StateParty of its instrument of ratification, acceptance, approval or accession.

5. The procedure set out in paragraphs 3 and 4 shall not apply to amendments to Article 5concerning the number of States Members of the Committee. These amendments shall enterinto force at the time they are adopted.


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6. A State which becomes a Party to this Convention after the entry into force ofamendments in conformity with paragraph 4 of this Article shall, failing an expression ofdifferent intention, be considered:

(a) as a Party to this Convention as so amended; and

(b) as a Party to the unamended Convention in relation to any State Party not boundby the amendments.

Article 39 – Authoritative texts

This Convention has been drawn up in Arabic, Chinese, English, French, Russian andSpanish, the six texts being equally authoritative.

Article 40 – Registration

In conformity with Article 102 of the Charter of the United Nations, this Convention shall beregistered with the Secretariat of the United Nations at the request of the Director-General ofUNESCO.


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DONE at Paris, this third day of November 2003, in two authentic copies bearing thesignature of the President of the 32nd session of the General Conference and of the Director-General of UNESCO. These two copies shall be deposited in the archives of UNESCO.Certified true copies shall be delivered to all the States reffered to in Articles 32 and 33, aswell as to the United Nations.

Fait à Paris, le trois novembre 2003, en deux exemplaires authentiques portant la signature duPrésident de la 32e session de la Conférence générale et du Directeur général de l’UNESCO.Ces deux exemplaires seront déposés dans les archives de l’UNESCO. Des copies certifiéesconformes seront remises à tous les Etats visés aux articles 32 at 33 anisi qu’à l’Organisationdes Nations Unies.

Hecho en París en este día tres de noviembre de 2003, en dos ejemplares auténticos que llevanla firma del Presidente de la 32a reunión de la Conferencia General y del Director General dela UNESCO, ejemplares que quedarán depositados en los archivos de la UNESCO y de loscuales se remitirá copia certificada conforme a todos los Estados a que se refieren losArtículos 32 y 33, así como a las Naciones Unidas.


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The above text is the authentic text of the Convention hereby duly adopted by the GeneralConference of UNESCO at its 32nd session, held in Paris and declared closed on theseventeenth day of October 2003.

Le texte qui précède est le texte authentique de la Covention dûment adoptée par laConférence générale de l’UNESCO à sa 32e session, qui s’est tenue à Paris et qui a étédéclarée close le dix-sept octobre 2003.

Lo anterior es el texto auténtico de la Convención aprobada en buena y debida forma por laConferencia General de la UNESCO en su 32a reunión, celebrada en París y clausurada eldiecisiete de octubre de 2003.


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IN WITNESS WHEREOF the undersigned have signed this Convention this third day ofNovember 2003.

President of the General Conference Director-General

EN FOI DE QUIO ont apposé leurs signatures, le trois novembre 2003

Le Président de la Confénce générale Le Directeur général

EN FE DE LO QUAL estampan sus firmas, en este día tres de noviembre de 2003

El Presidente de la Conferencia General El Director General


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Cetified CopyCopie certifiée conformeCopia certificada conforme

Paris,

Legal AdvisorUnited Nations Educational, Scientific and Cultural Organization

Conseiller juridiquede l’Organisation des Nations Unies pour l’education, la science et la culture

Asesor Jurídico,de la Organización de las Naciones Unidas para la Educación, la Ciencia y Cultura


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2. Proclamation of the “Masterpieces of the Oral and Intangible Heritage of

Humanity”

List of Proclaimed MasterpiecesThe Second Proclamation, 7 November 2003

1. Azerbaijani Mugham AZERBAIJAN

2. The Carnival of Binche BELGIUM

3. The Andean Cosmovision of the Kallawaya BOLIVIA

4. The Oral and Graphic Expressions of the Wajapi BRAZIL

5. The Royal Ballet of Cambodia CAMBODIA

6. The Oral Traditions of the Aka Pygmies of Central Africa

CENTRAL AFRICAN REPUBLIC

7. The Art of Guqin Music CHINA

8. The Carnival of Barranquilla COLOMBIA

9. La Tumba Francesa, Music of the Oriente Brotherhood CUBA

10. The Al-Sirah al-Hilaliyya Epic EGYPT

11. The Kihnu Cultural Space ESTONIA

12. The Tradition of Vedic Chanting INDIA

13. Wayang Puppet Theatre INDONESIA

14. Iraqi Maqam IRAQ

15. Ningyo Johruri Bunraku Puppet Theatre JAPAN

16. The Maroon Heritage of Moore Town JAMAICA

17. The Art of Akyns, Kyrgyz Epic Tellers KYRGYZSTAN

18. Woodcrafting Knowledge of the Zafimaniry MADAGASCAR

19. The Indigenous Festivity dedicated to the Dead MEXICO

20. The Traditional Music of Morin Khuur MONGOLIA

21. The Pansori Epic Chant REPUBLIC OF KOREA

22. Lakalaka, Dances and Sung Speeches of Tonga TONGA

23. The Arts of the Meddah, Public Storytellers TURKEY

24. Vanuatu Sand Drawings VANUATU

25. Nha Nhac, Vietnamese Court Music VIET NAM

26. Songs of Sanaa YEMEN

27. The Baltic Song and Dance Celebrations ESTONIA, LATOVIA, LITHUANIA

28. Shashmaqom Music TAJIKISTAN, UZBEKISTAN


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List of Proclaimed MasterpiecesThe First Proclamation, 18 May 2001

1. The Garifuna Language, Dance and Music BELIZE

SUPPORTED BY HONDURAS AND NICARAGUA

2. The Oral Heritage of Gelede BENIN

SUPPORTED BY NIGERIA AND TOGO

3. The Oruro Carnival BOLIVIA

4. Kunqu Opera CHINA

5. The Gbofe of Afounkaha; the Music of Transverse Trumpets of the Tagbana Community

COTE D’IVOIRE

6. The Cultural Space of the Brotherhood of the Holy Spirit of the Congos of Villa Mella

DOMINICAN REPUBLIC

7. The Oral Heritage and Cultural Manifestations of the Zapara People

ECUADOR-PERU

8. Georgian Polyphonic Singing GEORGIA

9. The Cultural Space of Sosso-Bala in Nyagassola GUINEA

10. Kutiyattam, Sanskrit Theatre INDIA

11. Opera dei Pupi, Sicilian Puppet Theatre ITALY

12. Nogaku Theatre JAPAN

13. Cross Crafting and its Symbolism in Lithuania LITHUANIA, SUPPORTED BY LATVIA

14. The Cultural Space of Jemaa el-Fna Square MOROCCO

15. Hudhud Chants of the Ifugao PHILIPPINES

16. Royal Ancestral Rite and Ritual Music in Jongmyo Shrine

REPUBLIC OF KOREA

17. The Cultural Space and Oral Culture of the SemeiskieRUSSIAN FEDERATION

18. The Mystery Play of Elche SPAIN

19. The Cultural Space of the Boysun District UZBEKISTAN


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1. General Information

The Asia/Pacific Cultural Centre for UNESCO(ACCU), Bunkacho (Agency for Cultural Affairs ofJapan) and the Japanese National Commission forUNESCO will jointly organise the 2004 ACCURegional Meeting in Asia and the Pacific onPromotion of Safeguarding Intangible CulturalHeritage, in collaboration with UNESCO, and incooperation with the Ministry of Foreign Affairs.

1. Background- ACCU has implemented, in collaboration with

experts in the region, a number of regionalactivities for promotion of cultural heritage in theregion over the last two decades. Among others,it produced educational, promotional audio-visualmaterials on Asian and Pacific folk dances, folkfestivals, folk songs and musical instruments. Italso produced the “Data Bank on Traditional/FolkPerforming Arts in Asia and the Pacific – a BasicModel” in print and on-line versions, whichcomprises brief introductions of the performingarts and related organisations and the nationalpolicies in the field.

- As a part of its cultural personnel capacity-building, ACCU organised, jointly with UNESCO,the 2002 Regional Workshop in Asia and thePacific on Promotion of the “Proclamation ofMasterpieces of the Oral and Intangible Heritageof Humanity” (12 – 16 March 2002, Tokyo) toencourage future participation, as well as to discusseffective use of the programme to promote oraland intangible heritage in general. A large numberof countries from Asia and the Pacific, comparedto other regions, submitted the candidature filesfor the second Proclamation, which we consideran immediate successful results of the 2002Regional Workshop.

- The Convention for the Safeguarding of theIntangible Cultural Heritage was adopted by the32nd session of UNESCO General Conference on17 October 2003.

2. Objectives- to share the results of discussion on the

Convention for the Safeguarding of theIntangible Cultural Heritage at the 32nd UNESCOGeneral Conference

- to share the results of the second “Proclamationof Masterpieces of the Oral and IntangibleHeritage of Humanity”

- to exchange information on the situation ofintangible cultural heritage (ICH) safeguarding:developments and follow-up activities after the2002 Regional Workshop on Promotion of the“Proclamation of Masterpieces.” (March 2002,Tokyo)

- to have understanding of common key issues ofsafeguarding ICH in the region.

- to introduce the Japanese system of safeguardingIntangible Cultural Properties.

- to discuss and consult on ACCU strategies in Asiaand the Pacific and medium term programmesto be implemented in 2004-2008

3. Time and Place26 February – 1 March 2004 (5 days)Miyako Hotel Osaka, National Bunraku Theater(Osaka, Japan)

4. Participation in the Meeting (1) ParticipantsOne participant each from the following UNESCOMember States in Asia and the Pacific.

Australia, Bangladesh, Bhutan, Cambodia, China,Fiji, India, Indonesia, Iran, Japan, Kiribati,Kyrgyzstan, Lao PDR, Malaysia, Maldives,Mongolia, Myanmar, Nepal, New Zealand,Pakistan, Papua New Guinea, Palau, Philippines,Rep. of Korea, Sri Lanka, Tajikistan, Thailand,Tonga, Uzbekistan and Viet Nam

(2) UNESCO Representative(s): (3) Resource Persons:

Japanese expert(s) on the Japanese administrativesystem of intangible cultural propertiesmanagementOne/two overseas expert(s)

(4) Observers (5) Secretariat: ACCU

5. Qualification of ParticipantsThe nominated experts are to meet the followingconditions:

(1) S/he should be an expert or senior administratorwho was/is involved in the candidature-selection

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procedure for the�“Proclamation of Masterpieces,”OR a key staff member from the government who isin charge of intangible cultural heritage at nationallevel.(2) S/he should be proficient in English.

6. Programme (tentative):

Wed. 25 Feb.Arrival of the International Participants

Thu. 26. Feb. DAY1OpeningKeynote speeches by representatives

fromUNESCO and BunkachoACCU PresentationPresentation: results of and discussion on the

Convention and the 2nd Proclamation of theMasterpieces

Fri. 27 Feb. DAY2Introduction of the proclaimed Masterpieces

from the region (reasons for the nationalselections, difficulties when selected)

Country Report Presentations: info. on the latestdevelopments on ICH promotion and follow-up activities to 2002 Regional Workshop

Sat. 28 Feb. DAY3Discussion & Consultation on medium-term

ACCU activitiesLecture-demonstration of Bunraku (puppeteers

and stage properties production/restoration)

Sun. 29 Feb. DAY4Field visit Option 1: Observation of locally transmitted

performing art “Awaji Ningyo Joruri” inAwaji Island

Option 2: Historic Monuments of Ancient Cityof Nara (World Heritage) & Bunrakuperformance watching (Ikoma, Nara)

Mon. 1 Mar. DAY5Final DiscussionConclusion

Tue. 2 Mar.Departure of the International Participants

7. Financial ArrangementsTravel:ACCU will provide each of the participants andResource Persons, except those from Australia, NewZealand, Republic of Korea, Malaysia and Thailand

with a direct return ticket (normal economy class)between the international airport nearest to his/herresidence and Osaka.

Board and Lodging:ACCU will provide each of the participants andResource Persons with a Daily SubsistenceAllowance (DSA) for 6 days from 25 February to 1March 2004.

8. Working LanguageThe working language of the Meeting is English.As and when necessary, interpretation between

Japanese and English is provided.

9. AccommodationMiyako Hotel Osaka6-1-55, Uehonmachi, Tennoji-ku,Osaka 543-0001, Japantel: (81-6) 6773-1111 fax.(81-6) 6773-3322e-mail: [email protected]

10. CorrespondenceMr. SATO Kunio, Director-GeneralAsia/Pacific Cultural Centre for UNESCO (ACCU)6, Fukuromachi, Shinjuku-kuTokyo 162-8484 Japantel: (81-3) 3269 4435fax: (81-3) 3269 4510e-mail: [email protected]


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2. Meeting Schedule

26 February (Thursday) DAY 19:30 Opening Programme

Opening SpeechesACCU, UNESCO, Bunkacho

Presentation of ParticipantsExplanation of the ProgrammeIntroduction of office bearers

10:30- Keynote Speech 1Mr. Rieks Smeets, Chief, IntangibleCultural Heritage Section, UNESCO

11:20- tea break11:35 Keynote Speech 2

Mr. SUZUKI Norio, Counciloron Cultural Properties, Bunkacho

12:15 ACCU PresentationMr. SATO Kunio, Director-General

12:45-14:00 Lunch break14:00 Introduction of the Asian and the

Pacific Masterpieces of the SecondProclamationCambodia, China, Indonesia, Japan,Kyrgyzstan

16:00-16:15 tea break16:15-18:15 Introduction of the Masterpieces

(continued)Mongolia, Rep. of Korea, Tonga,Vanuatu, Viet Nam, Tajikistan-Uzbekistan

19:00-20:30 Reception hosted by ACCU at “CrystalRoom” Miyako Hotel Osaka

27 February (Friday) DAY 2

9:00-9:20 Introduction of the Masterpieces

(continues)

India

9:20-9:40 Resource Persons’ comments on

overview of Masterpieces

Mr. Ralph Regenvanu, jury member

9:40-10:00 UNESCO Bangkok Office Presentation

Ms. Beatrice Kaldun, Consultant-Culture

10:00-10:40 Discussion with UNESCO on the

Convention

Mr. Rieks Smeets, UNESCO

10:40-10:50 break

10:50-12:45 Country report sharing: case studies on

successful projects

(1) Heritage management

Bhutan, Japan, Philippines

Rep. of Korea

12:45-14:00 Lunch

14:00- Country report sharing (continued)

(2) Obligations & rights of state parties

to the Convention

Mongolia

(3) Public awareness raising

New Zealand, Vanuatu

(4)Reviving once-endangered heritage

Cambodia, Fiji, Indonesia

(5)Intangible heritage in education

Palau

(6)Cultural heritage and eco-tourism

Iran

17:30-18:00 Discussion: overview of issues common

to Asian and the Pacific countries

28 February (Saturday) DAY 3

9:00- Discussion & Consultation on future

ACCU activities on ICH

ACCU Report Presentation

Ms. OHNUKI Misako

9:30- (comment gathering)

9:50-10:20 tea break

10:20-10:40 Group discussion explanation [plenary]

10:45-11:35 Group discussion on tentative ACCU

projects

11:40-12:10 Results presentation [Plenary]

13:00-13:40 Lunch at National Bunraku Theatre

14:00- National Bunraku Theatre

-Lecture on training Bunraku artists

-Demonstration-explanation of narration,

music and puppet manipulation,

-Observation tour of backstage puppet

maintenance studios

17:20 Leaving the theatre for hotel


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29 February (Sunday) DAY 4

[Group A] Field visit: Awaji Ningyo Joruri7:35 Meeting at hotel lobby7:50 Leaving hotel by bus10:00-13:00 Awaji Puppet Theatre

“Puppet class”PerformanceMeeting with leading practitiors

13:00-14:00 Lunch14:30-16:00 Nandan Junior High School

Observing the Ningyo Joruri Clubpractice

18:30 Back to hotel

[Group B] Field visits: World Heritage sites andBunraku performance

8:45 Meeting at hotel lobby9:00 Leaving hotel by bus10:00-12:00 World Heritage sites

Todaiji Temple Kasuga Taisha Shrine

Lunch14:00-17:00 Bunraku Performance

(Ikoma City, Nara)“Ehon Taiko-ki”, “Tsuri Onna”

18:00 Back to hotel

1 March (Monday) DAY 5

9:30- Sharing Field visits observationGroup A: Ms. Noorsiah Sabri, MalaysiaGroup B: Mr. Sipiriano Nemani, Fiji

10:00-10:30 Country Report PresentationsMyanmar, Pakistan

10:30-11:30 Discussion & Consultation on futureACCU activities on ICH

11:30-12:30 Final Discussion: Regional Activitiesfor Safeguarding ICH

12:30-13:00 ClosingClosing Remarks1. Ms. Beatrice Kaldun, UNESCOBangkok2. Mr. Sato Kunio, ACCU


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3. Opening Speeches

(1) Opening Address by Mr. SATO KunioDirector-General, ACCU

Good morning, everybody. Welcome to Osaka.Mr. Suzuki, Councillor on Cultural Properties,Agency for Cultural Affairs,Mr. Smeets from UNESCO,Distinguish participants,Friends and colleagues,

It is my great pleasure to welcome all of you on behalfof the Asia/Pacific Cultural Centre for UNESCO, onthe occasion of the opening of the 2004 ACCURegional Meeting in the Asia and the Pacific onPromotion of Intangible Cultural Heritage. Thank youall the participants from 28 countries, coming all theway to attend this regional meeting. I should alsolike to express my appreciation to Resource Personsand UNESCO representatives headed by Mr. Smeets.

Let me recall the 2002 Regional Workshop forCultural Personnel in Asia and the Pacific onPromotion of the Proclamation of Masterpieces ofthe Oral and Intangible Heritage of Humanity,organised jointly by ACCU and UNESCO, topromote and disseminate the ideas and the system ofthe UNESCO’s Masterpieces programme in Asia. AsI understand, the 2002 Workshop contributed muchto the awareness raising and increased the interest inthe Masterpieces programme among UNESCOMember States in the region. As we know, out oftwenty eight cultural heritage proclaimed asMasterpieces in November last year, twelve werefrom Asia and the Pacific region. No doubt, what isimportant is not necessarily the Proclamation of eachheritage, but awareness-raising of the importance ofour intangible cultural heritage, many of which is indanger of disappearance, coupled with actions fortheir safeguarding.

Following the latest movements of UNESCO,especially the adoption of the Convention ofSafeguarding Intangible Cultural Heritage lastOctober, ACCU considers it is quite opportune forus to meet again, to make a stocktaking of measuresof safeguarding intangible cultural heritage, anddiscuss future strategies in the region. ACCU wouldalso like to benefit by your advice on how our futureregional activities, while taking into considerationspast joint programmes in the field of intangible

cultural heritage.

During this meeting, you will have a field visit eitherto Todaiji temple, one of the oldest temples in theworld on the World Heritage site, plus Bunrakupuppet performance, a Masterpiece in Ikoma, or to atraditional puppet theatre to meet a living nationaltreasure at Awaji Island. Needless to mention, all ofyou will visit and see how the Bunraku puppet theatreis managed for its performance and its conservation.

At last, I would like to express our sincere thanks toour co-organiser, Agency for Cultural Affairs and theJapanese National Commission for UNESCO, fortheir generous support in organising this meeting.ACCU will try our best to make your stay as pleasantand conformable as possible. If you happen to haveanything inconvenient, please let us know. We willtry to solve your problem or issue as soon as possibleto satisfy your stay. Let’s have friendly, fruitfuldiscussions during coming days. Thank you verymuch.

(2) Opening Address by Mr. Rieks Smeets Chief, Intangible Heritage Section UNESCO

I am grateful, Mr. Sato, Mr. Suzuki, to have beeninvited to represent UNESCO in this meeting. I amhappy to be on this occasion in this region of theWorld, which is very important for us, both in viewof its richness in intangible heritage and in its long-standing experiences in dealing with it. However,before going on, I would like to extend to you thegreetings, and their wishes for success, of UNESCO’sDirector-General Mr Koichiro Matsuura and of theAssistant Director-General for Culture, Mr MounirBouchenaki.

I also want to express my appreciation for thisimportant initiative to the Asia/Pacific CulturalCentre for UNESCO. Although I am relatively newto UNESCO – I was appointed only in April last year–I am well aware of the active role that ACCU hasplayed in developing a network of policy-makersconcerned with UNESCO activities in the Asia-Pacific region. Your work, ACCU, and also all ofyour work, ladies and gentlemen, is most relevant


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for our Organisation. So, I thank you for having thismeeting and for having invited me.

Now that the Convention for the Safeguarding of theIntangible Cultural Heritage, the 2003 Convention,has been adopted, our section is faced with amultitude of important new tasks. And what we neednow is your input and that of other regions, as yourexperiences and your questions are especiallyimportant for preparing the implementation of theConvention. Therefore, in the first place, I am hereto learn from you.

I would also like to take this opportunity to thank theJapanese authorities for their continuous support toour activities, in particular for the generous financialsupport we receive through the Japan Funds-in-Trust.I must say that almost three quarters of what we areable to do from Headquarters in the framework ofthe Masterpieces Programme is financed by the JapanFunds-in-Trust. But we are also grateful for the on-going interest and moral support, equally important,with which Japan always has been encouraging us. Iknow that Japan’s warm support for UNESCO in thefield of intangible cultural heritage is rooted in thecountry’s long history of safeguarding intangiblecultural heritage and in a deep appreciation fortraditional cultural expressions and manifestationswhich have been preserved under so many differentforms in Japan. This is my first visit to Japan, and Ihope to discover various aspect of Japanesetraditional living culture and this country’s culturalpolicies. I plan to visit many specialists andspecialised institutions. Upon my arrival yesterday,I already had the opportunity to visit the ancientcapital of Kyoto and I was impressed to see the localNoh theatre, to meet an artist who is a master in theproduction and reconstruction of textile treasures, andto enjoy at the end of the day a tremendous traditionalJapanese dinner.

I know that ACCU organized an intensive meetingsimilar to this one two years ago, which mypredecessor Ms Noriko Aikawa and my colleagueCésar Moreno attended. I heard from them that theyhad a good time and that they had preciousopportunities to directly exchange views withregional experts. Since then as you know, remarkableprogresses have been made in the field of thesafeguarding of intangible cultural heritage. In theautumn of last year we saw not only the adoption ofthe 2003 Convention, but also the Second

Proclamation of Masterpieces of the Oral andIntangible Heritage of Humanity. Asia, which alreadyhad been successful at the first Proclamation, noweven improved on that result.

The Convention was adopted two years beforeschedule; we were quite happy with that as we cannow continue our work in another gear, by embarkingupon the preparation of its implementation. I wouldlike to thank your countries for the warm support wereceived in the period when the experts prepared thedraft of this Convention. Without the knowledgeableand convincing support of the Asia and the Pacificcountries, things would have been more difficult.There is still much work ahead and in mycontribution, later on, I will raise some thematicquestions that still have to be worked out. I amlooking forward to your first reactions on thesesubjects. I will also be happy to get to know all ofyou personally to establish contacts for the future.Maybe, in certain cases, that future will not be toofar ahead: in order to promote this Convention andto encourage Member States to adhere to it, we aregoing to organise eight regional meetings within thecoming twelve months. One of these meetings, theone for Asia, will be held in New Delhi, and mostprobably there will be a separate meeting for thePacific region. As you are aware, it is stipulated inthe Convention that it will come into force after thedeposit of the thirtieth instrument of ratification,acceptance or approval. We aim at realising that goalwithin two years.

I would like to inform you that we already got goodnews from Algeria. Algeria became the first countryto sign and ratify the Convention for the Safeguardingof the Intangible Cultural Heritage. We know aboutfive to six other countries that are already far in thepreparation of the ratification process. In addition tothe regional meetings, we will also organise activitiesat Headquarters in Paris to see to it that we have therequired number of thirty States ratifying thisConvention as soon as possible. My colleagues andmyself are also working hard on laying a soundfoundation for the future implementation of theConvention. Fortunately, we already have quite someexperience with different types of activities,programmes and projects in the field of thesafeguarding of elements of intangible culturalheritage. The main source of our experiences, ofcourse, is the programme of the Proclamation of theMasterpieces of the Oral and Intangible Heritage of


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Humanity. In NGOs and in the Proclamation’s Jurymany discussions and evaluations have already takenplace in relation to this programme. But lots ofquestions are left to be worked out, be it on apreliminary basis only. We already receive questionsfrom Member States asking what will be theirobligations and their rights, once they become a partyto this Convention. Therefore we are working on theproduction of a series of a manuals, in which expertsof different regions and backgrounds will try toexplain the working of this Convention. There willbe a general manual presenting and analysing the textof the Convention, providing definitions and alsogiving the historical background and the raison d’êtreof the Convention. The various domains of theintangible cultural heritage and different methods ofsafeguarding will be explained by giving examplesand good practices. There will also be specialisedmanuals, at least one on oral traditions andexpressions, one on performing arts such as dance,music, traditional theatre, and probably also one onrituals, social events and festivities.

I already briefly mentioned the Second Proclamationof Masterpieces in which your region was particularlysuccessful. As you know, there will be a thirdProclamation in July 2005. The circular letterannouncing this was sent in the beginning of Januaryto the Member States and a letter confirming this willsoon be sent to the National Commissions forUNESCO, Permanent Delegations in Paris and to allUNESCO field offices. We hope, although this maysound strange, that the Third Proclamation will bethe last one: as soon as the 2003 Convention willenter into force, the Proclamation programme willcease to exist, though not without leaving a majortrace. All elements already proclaimed a Masterpiecebefore the entry into force of the 2003 Conventionwill be incorporated in the Representative List of theIntangible Cultural Heritage of Humanity, which isforeseen under article 16 of the Convention. If youwould ask me how exactly that incorporation is goingto take place, I am afraid I will not be able to answeryour question to your satisfaction. You will have towait for detailed answers. The State Parties to thisConvention together will form its General Assembly;that Assembly will organise elections and create aCommittee, officially an IntergovernmentalCommittee for the Safeguarding of the IntangibleCultural Heritage, of – at least in the beginning – 18members. It will be the task of that Committee toelaborate proposals for the implementation of the

Convention. One of their proposals will concern theinsertion of the Masterpieces into the RepresentativeList and another but related one is a proposal that theCommittee will have to draw up, and to submit tothe General Assembly for approval, a set of criteriafor the establishment, updating and publication ofthat Representative List.

As you may know, besides the Convention, inUNESCO’s intangible heritage section we havegained experiences in other programmes n the fieldon intangible cultural heritage, which we will alsobe made profitable for the 2003 Convention As youcan imagine we have to use this expression, intangiblecultural heritage, very, very often. Personally I wouldhave preferred ‘living heritage’ or ‘living culturalheritage, which is shorter, makes things more clearand is a more positive term. We have the programmeof the Living Human Treasures System. We startedthe biennium with seven countries having this kindof systems, and we try to double that number beforethe end of the biennium.

We have a programme on Endangered Languages,which for the first time received a fair amount ofmoney within the regular budget of UNESCO forthis biennium. Several activities are being developed,of which quite some projects have been decentralisedunder this programme. We had an expert meeting ofmainly socio-linguists resulting in a set ofrecommendations that we will publish soon. We willfocus in the first place on Africa as the problems thereare very large. And we will try to contrast the situationin Africa with the situation in the Pacific wheresometimes, with very small amount of money,miracles can be performed in the field of safeguardingendangered languages. We would like to try totransfer part of that experience to Africa and otherparts of the world.

Then we have a programme in traditional music. Asyou know, some 35 years ago, UNESCO started acompilation of traditional music that now became aCD series. However, these series will soon disappearas such due to the current market forces. TodayUNESCO, once a pioneer, is not by far the onlyplayer in this - crumbling - market. CDs will also beproduced in the future but probably on a moreincidental basis: we will try to make this part of ourimplementation programme of the Convention. Andwe consider bringing out in the future CDs toespecially highlight elements that will be the object


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(3) Opening Speech by Mr. SUZUKI NorioCouncilor on Cultural Properties,Bunkacho (Agency for Cultural Affairs, Japan)

On behalf of Bunkacho, I have the pleasure ofgreeting you at the opening of this meeting.Intangible cultural heritage is indeed the source ofidentity for every nation and ethnic group. Also,intangible cultural heritage is indispensable formankind because it signifies the cultural diversity ofthe world. So the people of today have theresponsibility of passing it down to futuregenerations. However, intangible cultural heritagecan initially undergo transformation affected bydevelopment and social change. So in the processof globalisation of the economy and contemporarysociety, intangible cultural heritage unique to eachregion is in a crisis of transformation anddisappearance. Here in Japan in 1950 we enactedthe Law for the Protection of Cultural Properties.Traditional theatre, music, craft techniques, all theseare intangible cultural properties. Traditional way oflife, folk traditions and practices, these are intangiblefolk cultural properties. For half a century, we havebeen endeavouring to protect this heritage. Currently,we have been making preparations for revision ofthe law to cover such techniques as: steelwork,carpentry, sake (wine) making, local cuisine, andmanufacturing techniques, folk manufacturingtechniques for utensils and tools for production andthe way of life of each region.

UNESCO has played a major role in protectingtangible cultural and natural heritage through itsWorld Heritage Programme. This is very widelyacknowledged. For the intangible cultural heritage,from 2001, UNESCO initiated the programme of theProclamation of Masterpieces of Oral and IntangibleHeritage of Humanity. This indeed has played aspearheading and significant role in the protectionand transmission of the diversified intangible culturalheritage of the world. In this project, already 47 itemshave been proclaimed as Masterpieces and this hasmade these intangible heritage items well knownthroughout the world. This has indeed encouragedthose who have been involved with intangible culturalheritage worldwide.

As for Japan, with the First Proclamation Nohgakuwas listed and with the Second Proclamation, NingyoJoruri Bunraku was listed. This means that the effortsof the people involved in these intangible culturalheritage items in Japan was highly acclaimed. Atthe same time, we can say that the long years of effortswe have imposed on ourselves for the protection ofcultural heritage finally bore fruit. Furthermore, afterrepeated discussions at the UNESCO GeneralConference that was held in November 2004, theConvention for the Safeguarding of the IntangibleCultural Heritage was adopted.

So here in Japan we have been earnestly involvedwith the protection of intangible cultural heritage andwe have to aim for the early ratification of theConvention in Japan. We have been making domesticadjustments. As a result of that, tomorrow on 27February, this will be the agenda at the Cabinetmeeting and it will be discussed at the Japanese Diet.I thought I would just like to report this to you.

In every country I understand that there are actionstowards the ratification of the Convention and Iearnestly hope that it will go into effect as early aspossible. We indeed hope that this meeting will serveas the catalyst for the further understanding of theProclamation of Masterpieces in every country andthat action will go ahead for the early coming intoeffect of the convention and this would also facilitatethe efforts towards protection of intangible culturalheritage throughout the world, headed by UNESCO.

Lastly but not least I would like to pay my deeprespects to UNESCO and ACCU and all the othersinvolved. Thank you very much for your attention.

of international assistance under the Convention, orthat will be placed on one of the two lists foreseenby the Convention.

Well, this is some information about our programmes.The most important task we have now atHeadquarters, however, is to promote the Conventionin order to receive as soon as possible the thirtyinstruments of ratification that I mentioned before.The other major new task will be – I repeat – thepreparation of the implementation of the Conventionby its Committee and General Assembly but also tryto prepare the content side of the Convention. Forthis, we need your input, and for this, I have comehere. I am very interested in listening to you andwhere possible participate in the discussions. Onceagain I thank and congratulate Mr. Sato and hiscolleagues who have worked hard to realize thismeeting and thank you, ladies and gentlemen, foryour kind attention.


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Annex 2

4. List of Participants

I. Participants (29)

1. AustraliaMs. Karen GoslingSpecial AdviserCollections and Governance,Department of Communications, Informa-tion Technology and The Arts

2. BangladeshMs. Shaheen AkhtarSenior Assistant SecretaryAssistant Private Secretary tothe State Minister for Cultural AffairsMinistry of Cultural Affairs, BangladeshSecretariat, Dhaka

3. BhutanMr. Lungten GyatsoPrincipalInstitute for Language and Culture Studies(ILCS), Ministry of EducationSemtokha, Thimphu

4. CambodiaProf. Hang SothDirector-General of TechniquesMinistry of Culture and Fine Arts

5. China (2)Ms. Sun LingpingDirector,Traditional & Folk CultureDepartment of Social Culture and Librar-ies, Ministry of Culture

Ms. Zhao WeiyingSecond Secretary, Bureau for External Cultural RelationsMinistry of Culture

6. FijiMr. Sipiriano Ranuku NemaniProject Officer, Institute of Fijian Language& Culture, Ministry of Fijian Affiars, Cul-ture & Heritage

7. IndiaDr. Sudha GopalakrishnanMission Director, National Mission forManuscripts, Department of Culture,Government of India

8. IndonesiaDr. Meutia Farida Hatta SwasonoDeputy Minister of Culture and TourismMinistry of Culture and Tourism Republicof Indonesia for Culture Preservation andDevelopment


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9. IranMs. Fatemeh FarahaniAcademic Member and Director ofthe Department of CultureIranian National Commission for UNESCO

10. Japan (2)Mr. Higuchi KazuhiroSpecialist for Cultural PropertiesBunkacho (Agency for Cultural Affairs ofJapan)

Mr. Miyata ShigeyukiHead of Folk Performing Arts SectionDepartment of Performing ArtsNational Research Institute for CulturalProperties, Tokyo

11. KyrgyzstanMs. Aziza OkeyevaSpecialist for CultureNational Commission of the Kyrgyz Repub-lic for UNESCO

12. Lao P.D.R.Mr. Thongbay PhothisaneDirector and Editor, Vannasin MagazineMinistry of Information and Culture

13. MalaysiaMs. Noorsiah SabriDirector, National Arts AcademyMinistry of Culture, Arts and Tourism

14. MongoliaDr. Norov UrtnasanSecretary-GeneralMongolian National Commission forUNESCO

15. MyanmarMs. Khin Hla HtayPro-Rector, University of CultureAung Zeya Road, No.26, Quarter SouthDagon Myothit Township, Yangon

16. NepalMr. Shanker Prasad KoiralaJoint-Secretary, Head of DivisionCulture Preservation and Promotion Divi-sionMinistry of Culture, Tourism and Civil Avia-tion

17. New ZealandMr. Brian Thomas PaulingDirector, Media Policy Research Centre,New Zealand Broadcasting School,Christchurch Polytechnic Institute of Tech-nology


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Annex 2

18. PakistanMr. Muhammad Ayub BaluchSecretary, Department of Culture, Informa-tion & Information TechnologyGovernment of Baluchistan, Quetta

19. PalauMr. Howard CharlesChair, Music DepartmentPalau Community College

20. PhilippinesDr. Jesus T. PeraltaConsultantNational Commission for Culture and Arts(NCCA)

21. Republic of KoreaDr. Sangmee BakAssociate Professor, Graduate School ofInternational Area StudiesHankuk University of Foreign Studies

22. Sri LankaMs. R. W. G. WaidyawathieSenior Lecturer, Institute of Aesthetic Stud-iesUniversity of Kelaniya, Department ofDancing

23. TajikistanMs. Munzifakhon BabadjanovaSecretary-GenralTajikistan National Commission forUNESCOMinistry of Foreign Affairs

24. ThailandDr. Somtrakool KlaDeputy Permanent Secretary for CultureMinistry of Culture

25. TongaMs. Tupou 'Ulu'ave TaufaDeputy Director of EducationPrimary, Ministry of Education

26. UzbekistanProf. Rustambek AbdullaevHead of Department for Folklore and Con-temporary MusicFine Arts Institute of the Academy of Artsof Uzbekistan

27. Viet NamDr. To Ngoc ThanhPresidentAssociation of Vietnamese Folklorists


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II. Resource Persons (2)

1. JapanDr. Yamaguti OsamuProfessor Emritus,Osaka University

2. Vanuatu (Member of International Jury)Mr. Ralph RegenvanuDirector, Vanuatu Cultural Centre

III. Bunkacho (1)Mr. Suzuki NorioCouncilor on Cultural PropertiesBunkacho (Agency for Cultural Affairs)

III. UNESCO (3)

1. UNESCO Headquarters (2)Mr. Rieks SmeetsDirector, Intangible Cultural HeritageSectionUNESCO

Ms. Mayuko SanoAssociate Expert, Intangible Cultural HeritageSectionUNESCO

2. UNESCO Bangkok OfficeMs. Beatrice KaldunConsultant for CultureUNESCO Bangkok Office

IV. ACCU

Asia/Pacific Cultural Centre for UNESCO (ACCU)6, Fukuromachi, Shinjuku-ku, Tokyo 162-8484, JapanPhone: (81-3) 3269-4436/4435Fax: (81-3) 3269-4510E-mail: [email protected]

Mr. SATO KunioDirector-GeneralE-mail: [email protected]

Mr. SUZUKI YoshimoriDirector, Programme DepartmentE-mail: [email protected]

Ms. OHNUKI MisakoDirector, Culture DivisionE-mail: [email protected]

Ms. TAKIMOTO MegumiProgramme Specialist, Culture DivisionE-mail: [email protected]

Mr. HARAIKAWA KeisukeSpecialist, General Affairs DivisionE-mail: [email protected]

Ms. DOI MidoriProgramme Specialist (Editor), CultureDivisionE-mail: [email protected]


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