National Intangible Cultural Heritage, Republic of Korea This ritual is held biennially in Tongyeong and Geojedo Island to pray for the peace of the village and abundant fish. This ritual features the exorcist’s beautiful songs and inclusion of buk (drums) among the accompanying instruments. Unlike its cousin held in villages along the East Coast, this one is carried out in a serious atmosphere with few gags exchanged between the exorcist and music players or in the narratives. In some instances, spectators and drummers act out a play in the middle of the ritual. The exorcist’s dance performed along with the ritual in most cases is rather simple and monotonous. Cheongsinak (music to invoke the deities) and Songsinak (farewell music to the deities) are performed respectively at the start and end of the ritual, to the accompaniment of daegeum (bamboo flute). This ritual has little entertainment value and involves not many narratives, but it goes long on the depth of belief in deities.

National Intangible Cultural Heritage, Republic of Korea These rituals are held annually in coastal villages in Haeju and Ongjin, Hwanghae-do and Yeonpyeongdo Island to pray for the peace of the village and for a bountiful catch. Baeyeonsingut is held by boat owners to pray for the safety of the boat, a bountiful catch, and the happiness of the family. It is performed on the boat and creates a merrymaking atmosphere. Daedonggut is one of the largest-scale rituals. It is held on a suitable day in January through March on the lunar calendar to pray for the happiness of all villagers and strengthen ties among them. Representatives of the village hold a rite on a nearby mountain, while each household holds Segyeonggut (Rite to Farming Deity). Then, all villagers march along the coast, praying for the safety of fishermen, a bountiful catch, and peace for the spirits of those drowned while catching fish. These two rituals are held on a large scale. They are characterized by flamboyance, mysteriousness, and merrymaking, and require lots of props.

National Intangible Cultural Heritage, Republic of Korea Donghaean Byeolsingut is a large-scale rite carried out in villages along the East Coast to pray for the peace and happiness of the village and the safety of fishermen. It is also called Pungeoje or Pungeogut (Ritual for Bountiful Fish) or Golmaegi Dangje (Ritual for the Village Guardian Golmaegi). The ritual is held annually, between March and May or between September and October, or every two/three years in some areas. The place the ritual is held is decorated flamboyantly, but the exorcists wear plain-looking costumes. This ritual features diverse dances, humorous dialogues, and gestures.

Noken is a knotted net bag or woven bag made from wood fibre or leaves, sometimes coloured and decorated. Noken is a traditional handcraft of all communities of Papua and West Papua Provinces, Indonesia. The day-to-day function of large size noken is for carrying plantation produce, catch from the sea or lake, wood, babies, small animals, shopping, etc., and for hanging at home to store things. Small size noken is for carrying personal effects such as betel nut, food, books, etc. Noken may be used to cover the head or body. For nearly all (275/311) respondents, noken is an accessory to their traditional dress, and according to most (290/311) is used in traditional ceremonies or celebrations, such as marriage proposals, marriage ceremonies, initiation of children, appointment of community leaders, welcoming guests and for keeping sacred heirlooms.. Among mountain communities, noken had been given along with other presentations to make peace between disputing parties. Drs. H. Rahimin Katjong, Deputy Governor of West Papua, recalled wearing a small noken containing betel nut etc at the time of his appointment as a traditional community leader at Fak Fak, West Papua. Nearly all (276/311) respondents explained that noken is used by all age groups, and most (282/311) observed that noken is used by both sexes. As soon as babies learn to walk, their mothers give them a small noken containing food such as sweet potatoes, thus instilling the habit of carrying one’s own needs, which may also be used to help others, inside a noken which is always close at hand. Three quarters of respondents (235/311) said that noken is generally made by women-- ”the Mamas of Papua”--usually adults according to most respondents (250/311). Women thus play a special role in safeguarding noken culture. At Epouto village in Paniai District, we found male orchid-noken craftsmen. Asmat community men also make noken. Most craftspersons make noken in their spare time from agriculture, fishing, and household duties, though some make noken full time. Noken making goes on yearround, but will increase in times leading up to traditional festivals. The method of making noken varies between communities. A basic outline is as follows. Branches or stems or bark of certain small trees or shrubs are cut, sometimes heated over a fire, and soaked in water for some days. After soaking, only wood fibre remains. The Dani/Hugula in Wamena peel bark from sticks of certain trees and then beat the sticks till only fibres remain. The wood fibre is dried, and then spun with the palm of the hand on the thigh of the craftsperson to make a strong thread or string, which is sometimes coloured using natural dyes. This string is knotted by hand to make net bags with various patterns and sizes. The same technique is used to make vests, hats, belts, etc.. In Paniai District we find noken interwoven with special decoration made from fibres from yellow, brown and black. orchid stems. Besides knotting, there are communities which make noken by weaving tree bark, wood fibre, pandan leaf, young sago leaf, or grass from swamps. Some select grasses with contrasting colours (Inanwatan, Metemani, Kais and Kokoda (Imeko) communities). Maybrat community craftspersons colour the fibres with natural colours. The fibres, leaves or grass are woven in various attractive patterns with symbolic meanings. To make noken requires great manual skill, care, artistic sense and inner satisfaction. Craftspersons often make noken while singing traditional songs of Papua. To become proficient in making noken takes up to several months of informal training. A skilled noken craftsperson will be much appreciated within her (or his) community. The diversity of making, wearing and use of noken continues to develop and be recreated as the response of the people of Papua to nature and their environment.

Indonesia 2012

The Nàng Hai Festival, also known as the Moon Praying Festival, begins in January and lasts until mid-March with the symbolic meaning of mothers and fairies on earth going to heaven to welcome Mother Moon and fairies down to earth. The Ngan ethnic group believes that on the Moon there is Mother Moon and 12 fairies, her daughters, who always take care of and protect the crops of all people. They choose a mother to be Mother Moon, and the girls play the role of fairies, including two unmarried girls who play the two moon sisters. The characters all wear traditional costumes according to regulations. They set up a "moon tent" as a place for Mother Moon and the fairies to sit during the ceremony. Before the ceremony, the people playing the role of Mother Moon (Mụ Cốc) and the girls stand in front of the altar so that Mr. Tào can perform the transformation ceremony for the souls of Mother Moon and the fairies to enter. From then on, they must abstain according to regulations. The ceremony is held on a large field with the rituals of "worshiping the local land princess" at the communal temple to ask permission for the villagers to organize the Moon-praying festival the following night. According to tradition, the ritual of carrying offerings from Thanh An communal house to the outdoor altar is a very important part to invite the gods to witness. The procession consists of 8 young people carrying the palanquin, including 4 men and 4 women, led by the shaman and the dancers, followed by trays of offerings including a pig's head, 4 pig's feet, chicken, duck, wine, cakes, and five-color dyed sticky rice. The shaman worships the local land goddess and the gods, the artists perform the rituals of dancing around the altar when the Moon-welcoming festival opens. After completing the ritual of reporting to Mother Moon and the 12 fairies, the village elder performs the rituals of praying for blessings, good luck, favorable weather, good crops; inviting Mother Moon and the fairies to bring crops and blessings to the villagers. The ceremony lasts for twelve nights. Each night, a Mother is invited. After that, they held a ceremony to send the moon ladies back to heaven. As for the festival, the shaman blew the trumpet and opened the festival. Villagers and commune residents participated in traditional sports activities such as: men's and women's volleyball; blindfolded duck catching; and pond fishing. In addition, the festival featured performances of folk songs, then singing, coi singing, folk games, and traditional cuisine of the Ngan ethnic group such as bamboo-tube rice, wild vegetable dishes, pork fish sauce, field carp fish sauce, salted plums, five-color sticky rice, pickled bamboo shoots, black plums dipped in sesame salt. This is a unique folk festival imbued with spiritual colors, with a positive and highly educational nature in the Ngan community. With its unique cultural values, the Ngan ethnic group's Moon Praying Festival was recognized as a national intangible cultural heritage by the Ministry of Culture, Sports and Tourism in 2018.

Chiêu Trưng Temple Festival is one of the four most famous temples in Nghe An ("Cờn Temple, Quả Temple, Bạch Mã Temple, Chiêu Trưng"), located on Long Ngâm Mountain, in Thach Ban Commune, Thach Ha District, Ha Tinh Province. Chiêu Trưng Temple in Ha Tinh consists of 3 buildings (Hạ Temple, Trung Điện Temple, Thượng Điện Temple) and a mausoleum. The Thượng Điện area has a plaque issued by King Le Thanh Tong: "Nam Thiên Tuấn Vọng". In the middle of the Thuong Dien is a statue of Chiêu Trưng Dai Vuong Le Khoi made of painted wood, bearing a solemn appearance. Chieu Trung is a very sacred temple, established to worship General Le Khoi - son of Le Tru, second brother of Le Loi. Le Khoi's posthumous name is Vo Muc, from Lam Son village, Tho Xuan district, Thanh Hoa province. In 1446, Le Khoi led his army to quell the rebellion. Wherever his army went, they won, but on the way back, he fell seriously ill and died at the foot of Long Ngam Mountain, in Dinh Ban Commune. In 1487, Le Khoi was awarded the title of Chieu Trung Dai Vuong by King Le Thanh Tong. To commemorate the great contributions of Chieu Trung Dai Vuong Le Khoi, the two districts of Thach Ha and Loc Ha coordinated to organize his death anniversary with many traditional cultural and sports activities. The Chiêu Trưng Temple Festival is held to commemorate the contributions of King Le Khoi and pray for favorable weather, calm winds, calm seas, and good crops. The Chiêu Trưng - Le Khoi Temple Festival is held annually, attracting a large number of visitors from all over the country. Before the main ceremony at Le Khoi Temple, the local people at the temples of Thach Kim, Mai Phu, Thach Ban, Thach Hai, and Thach Tri communes solemnly organized palanquin processions, royal decrees, and sacrificial objects to celebrate the death anniversary of the famous general Le Khoi. The processions were led by two exemplary elders. During the festival, the palanquin processions were elaborately prepared, with each procession having more than 100 people. The procession also includes a group of musical instruments, umbrellas, flags, sacrificial objects, etc. The procession by boat usually has 5-7 boats/group. Boats of neighboring villagers and fishermen from other places often go in and out of Cua Sot and the dragon boat racing group also join the procession. The festival takes place in 4 communes: Thach Ban, Thach Hai (Thach Ha district) and Mai Phu, Thach Kim (Loc Ha district), from the 1st to the 3rd of the 5th lunar month. The ceremony includes: opening ceremony, palanquin procession, sacrificial ceremony and death anniversary ceremony, dragon boat procession. In which, the opening ceremony took place on the morning of the 1st of the 5th lunar month at the main temple of Chiêu Trưng Dai Vuong Le Khoi and from the temples of Le Khoi in the communes to the main temple. The procession of royal decrees and sacrificial objects from the temples to the main temple on the top of Long Ngam mountain. After the dragon boat procession on the Cua Sot River, representatives of the two districts held a ceremony at the main temple to commemorate and pay tribute to the great general Le Khoi and pray for national peace and prosperity. The festival includes many practical and meaningful cultural, artistic and sports activities imbued with the traditional flavor of the locality such as: walking on stilts, playing chess, flying kites, boat racing, volleyball... Through the festival, fishermen pray for favorable weather and wind, protection for each fishing trip to have a good catch, and a full boat of seafood. This is also an opportunity for Ha Tinh to promote and introduce the tourism potential in the area, contributing to attracting domestic and foreign tourists to visit. In 2017, the Chiêu Trưng Dai Vuong Le Khoi Temple Festival was included in the list of national intangible cultural heritage by the Ministry of Culture, Sports and Tourism.

Boat building was started by Mr. Phạm Văn Thuông (Sáu Xuồng cui) more than 100 years ago. Every year, July 25 is chosen as the day to worship the ancestors of the Long Hậu people. The two main types of products are canoes, 1m to 1.2m wide, and two-row sampans (rowing boats) with small and medium widths (1m; 1.2m; 1.4m; 1.6m). The product consumption market is provinces and cities in the Long Xuyên Quadrangle. After that, the craft village developed several products such as Cái Răng, Cần Thơ boats, Cà Vom An Giang boats, Long An and Thap Muoi dinghies. Jobs are divided by gender: men take responsibility for choosing wood, sawing boards, flicking ink, rubbing, curling, shell, and bending parasols while women caulk bottles and fill jars; Children pull out nails, collect shavings, sawdust, scrap wood, bark, etc to sell to customers. The canoe is built according to the principle of odd numbers, 7 leaves or 5 leaves (melon rind). Other types will depend on the width and use the appropriate number of "melon rinds". The process of grafting the "melon rinds" is called casing. After "vô be" is the bending parasols stage. The number of curves must be exactly on the word "Sanh" or "Tài " in “Sanh - Tài - Tử - Mạt”. The eyes of fishing boats are drawn in the shape of eggs, with larger black hearts. To get a finished product, the craftsman must carry out many taboos and rituals such as pinning ceremony, launching ceremony, initiation ceremony, eye marking ceremony.

Held from January 13 to 18 on the land of the Tran dynasty, to affirm and honor the merits of building and defending the country of the Tran dynasty - a prosperous dynasty with three illustrious feats of defeating the Nguyen - Mong invaders. The ceremony is held solemnly, majesty and respectfully such as: the opening ceremony of the temple door, the procession of sacred water from the Red River confluence to Tran temple, the grave sacrifice, the worshiping ceremony for ancestors. In particular, they also held a ceremony to celebrate the wedding (treaty) between the two villages of Van Dai (Chi Hoa commune) and Tam Duong village (Tien Duc commune) as well as a water procession and a unique fish contest to remember the old times. Tran ancestors lived mainly by fishing.

The ceremony is usually held by the tribes that have soldiers in the ancient Paracels on the occasion of their "marriage service", around March 15-16. They made 5 models of boats, sacrifices, tablets of soldiers and gods who ruled the sea. The village communal house sanctuaries held the sacrifice ceremony the night before and the ceremony to pray for the spirits of the soldiers of the Hoang Sa team. The ceremony is held in the courtyard of the communal house and is performed by the clans and the shaman. 05 models of fishing boats placed in front of 3 altars. After the shaman performs the rituals of catching the exorcism seal, the blessing is a ritual reading. Then, they performed the ritual of releasing the sacrificial boat into the sea. During the ceremony, there is a festival of lanterns, boi singing, lion dance, procession and traditional boat racing festival.

Nub Tshona-patra literally means "The Great Lake in the West" and is beautifully situated between the ancient trade route of Haa and Tibet. From some sources, "Nub" may also be known as Nob, which means Norbu (precious treasures). Nub Tshona-patra is considered one of the most sacred and revered lakes in Bhutan. It is believed that the lake is so large that two types of vegetation grow on the lake. On the Tsho-gu (head of the lake) grow plants commonly known as Chukar meto (Rheum nobile), which grow only in mountainous regions such as Jomolhari, while on the Tsho-ju (tail of the lake) grow Dungshing plants (Abies densa), which grow in low regions such as the Haa Valley. Nub Tshona-patra is one of the holiest lakes in Bhutan and can be hiked from Haa on many different routes. The most common routes are from Kipri in Uesu gewog, from Karjena in Kartsho gewog via Changzur Nyela to Drakna Trashiding-kha Gonpa and also from Tokey in Bji gewog. Nub Tshona-patra can also be reached through Jula Pass, Talila Pass, from Miri Pun Suum and from Norbugang in Samar gewog. The river that flows through Dozam at the foot of Chana Dorje (Vajrapani bodhisattava) hill is fed by Lake Tshonapatra. This river feeds the Haa fishery at the foot of Chana Dorji hill. This river flows through Nakha Tashigang and Shubji in the Sangbay Gewog and joins the Amochu further downstream. The river from Baytsho also flows along this river. The sanctity of the lake brings about the fact that Terton (treasure revealer) Sherab Mebar (1267-1297?) came to Bhutan from Kham in Tibet in the 13th century at the age of thirteen, settled in Paro Pangbisa and established the Pangpa Ugyen Guru Temple as his seat. Even today, this two-story temple is considered very sacred. According to oral traditions, he was destined to recover treasures from a lake in western Bhutan. He was also destined to visit Bumthang and the Jawar Tsedrag Goenpa (temple). To find the treasures, Terton Sherab Mebar traveled to Haa. After finding the lake (now Nub Tshona-patra), he unveiled many treasures including gold, religious artifacts and religious instruments such as dung (trumpet), Nga (drum), Nge-tok (drumstick) and a pair of Rol-mo (cymbals), among others. Terton was prophesied to visit Nub Tshona-patra seven times. When Terton came across a huge lump of gold in Nub Tshona-patra, it turned into a giant frog as big as a hill and swallowed (and held) all the water of the lake in its mouth. He asked a carpenter to carve the gold nugget into a pillar to be used in Paro Dzong. The carpenter was instructed to take the splinters and fragments of the pillar as payment for his work. However, the carpenter tried to shear off too much of the column in order to receive his wages. The Terton feared that the column would be too short, and when he tried to talk to them about shearing too much out of concern, a drop of water fell out of his nose and spilled into the lake, drowning them all along with the gold. Some locals believe that those who cut off the gold pillar were his one hundred and five monk disciples from the village of Pangbisa, while others say that his team consisted of thirty-two strong men who were farmers and carpenters. The angry deity of the lake Tshodag/Tshomen (mermaid) sensed this and began to pursue the Terton. While he was running for his life, religious instruments such as cymbal, trumpet, drum, drumstick and a sickle fell from him, and lakes sprouted in the place where the treasures fell. Locals know these lakes as Drum Lake (Nga-tsho), Drum Lake (Dungtsho, in Jarey), Drumstick Lake (Ngetok-tsho), Cymbal Lake (Roel-tsho, in Rigona), and Sickle Lake (Zoutsho), which are now found in the Haa Shongana region (also known as Shokuna), including Nub Tshona-patra in Tshona Diga. Ngatsho and Ngetok tsho are located close to each other at Tsoo. Yak herders spend their summers in Tsoo. Locals believe that the Terton also spent time meditating (thukdam/tsham) in Yatokha, the area behind the hills of Ngatsho and Ngetok tsho, to see clear visions and find hidden treasures. Some sources say that the Terton also dropped other treasures such as religious artifacts and religious instruments made of gold, turquoise, silver, shells and a vase during his escape, which led to the formation of Ser-tsho, Yu-tsho, Ngyul-tsho, Dungkar-tsho and Bumpa-tsho (in Jarey Damshog). The terton Sherab Mebar turned into a bird and the angry deity into a falcon. When they reached Tergola (which means "gateway to hidden treasures," as it was believed that many treasures were hidden behind this mountain pass), the deity of the mountain (Tsan) negotiated peace between the Terton and the angry deity of the lake. Some consider this Tsan or Drak-tsen to be Ap Chungdu. Some sources also indicate that the negotiation actually took place in Lab-dza of Tshellu-tsho. It was agreed that both Terton and the deity would not enter their respective territories. Terton and the descendants of his followers would never set foot in Haa Shongana. Similarly, the lake deity agreed not to cross Tergola. Thus, all connections between the people of Haa Shongana and Paro Pangbisa were severed, even though these two places are considered to be close to each other. Even today, when the descendants of the Terton people in Pangbisa cross the Tergola Pass, it rains even when the weather is fine, and people die when they enter the Haa Shongana region. Animals also die when they cross the border, or if animals are traded between these two places, they do not survive. However, some of the locals believe that this border does not apply to livestock. To resolve the conflict between the two, the mountain deity erected five Do-tshams (boundary stones) between Gangche-la and Zou-tsho (Sickle Lake) to mark the border. It is believed that the boundary was initially marked with dried yak and sheep dung, which later turned into stones. The cairns are still preserved today. The Do-tshams are located in Ramzur, under the Uesu gewog. The stone mounds look as if they would collapse at any time. But if you actually touch them, it is not easy to dismantle them or break them into the ground. People say that stones and pebbles can be added to the piled up structures, but they should not be removed or disintegrated. When the Terton died, he left the only Rol-mo treasure (basin) and a Phurpai ku (three-sided ritual dagger statue) in the Pangpa Ugyen Guru Temple. The Phurpa ku can be seen in this temple to this day as one of the Nangten (sacred religious objects). It is said that after the death of Terton, his Kudung (sacred body) was taken from Pangbisa to Rinpung Dzong (fortress). However, the people of Pangbisa wanted to reclaim the Kudung, and when they tried to steal the Kudung through the U-tse (central tower) of Rinpung Dzong, the "head" detached from the Kudung, and the headless Kudung was left in Rinpung Dzong, which later burned in a fire tragedy. Today, the skull of Terton is revered as one of the most important sacred relics of the Pangpa Ugyen Guru Temple. In lieu of formal punishment, the people of Pangbisa had to cede the only treasure, the Rolmo, to the Rinpung Dzong. This cymbal can be visited today as one of the most important sacred relics of the Rinpung Dzong. The cymbal is shown to the public once a year, on the first day of Paro Tsechu, to give blessings, and it is also used to determine the timing of the mask dancers during Tsechu. The other cymbal that belongs to this treasure was newly made; therefore, this pair of cymbals sounds slightly different from the other normal pairs of cymbals. Some believe that the Nub Tshona-patra was originally located in the village of Sangbay Ama in the Sangbay gewog before it was settled in its present location. People say that a mermaid carried the lake in a dung-chung (slender container made of bamboo used to store salt) and planned to move the lake to another location because the lake's location was either dirty or it was time to move away from Sangbay Ama. On the way to the present location of the lake, the mermaid stopped for a night at a Norgi-jangsa (settlement of cattle herders). It is believed that the mermaid gave cattle to the Nublang cattle as a reward for the kindness shown to her by this local herdsman. Today, this particular breed of Tha-nor (low altitude cattle) exists only in the Sangbay gewog of Haa. Before the lake was built on the present site, the place was a Bjobi-lakha (nomadic settlement). The mermaid asked the shepherds to move their camp so that the lake could settle there. The mermaid found that even the next morning the shepherds had not moved away. So, the mermaid emptied the Dung-chung that contained the lake's water, drowning all the shepherds along with their camps. It is believed that some lucky people on a clear day can see the entire Nogi-jangsa, including dogs, yaks and people. Legend has it that once a woman from Tshaphel village was washing clothes on the lakeshore and polluted the lake. Nothing happened to her for five years. But in the sixth year, the lake "consumed" and she drowned along with her livestock and camp. To this day it is believed that at Nya-chhu, the source of Haa fishing, people come across pieces of clothing or Bjob's hat. It is believed that it is a bad sign to find such items. Locals also believe that whenever the waters of Lake Nyaku-na appear in Tshaphel, people either die or mysteriously disappear. It is believed that Dungkar Aekhil (a shell with a right head) appears to those who have good luck when visiting the lake. Lam Duetsi from Dumchog village in Uesu is said to have seen this shell while visiting the lake. Local people believe that a hundred cattle once drowned in the lake because the water of the lake appeared so calm that the cattle mistook the water of the lake for the ground. Later, about nine tethers that were used to tie the cattle were found at the water source that feeds the fishery in Haa.

Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Jeju’s harsh environmental features have made the islanders’ lives tough, inspiring respect for the sea. Dongguk Yeoji Seungnam (Augmented Survey of the Geography of Korea) of the Joseon Dynasty records, “As there is the custom of valuing licentious sacrifices, rites are held to honor the gods of forests, ponds, hills, trees and stones.” It can thus be inferred that many religious activities are conducted in Jeju. For Jeju islanders, the Yeongdeunggut rite is of special significance. When the time of Yeongdeung arrives, the rites are held throughout the island to plead for calm seas and abundant sea catches. Of all these rites, the one at the Chilmeoridang Shrine called the Jeju Chilmeoridang Yeongdeunggut is the most important. Its name implies that it is a rite for the goddess of wind only, but it is also a rite to worship village guardian gods and the Dragon King of the sea. While venerated, Yeongdeung also instills fear as she threatens people’s lives by stirring the sea. From early to mid-February when the goddess is present on the island, the sea is particularly turbulent. The islanders believe that as she leaves she removes all the contents of the shellfish. On the day of departure, however, the goddess also sows seeds along the shore to ensure people’s livelihood and the sea is purified to help the growth of the seeds. As such, importance has been attached to the time of her stay and people began to mark the occasion by performing a rite at the Chilmeoridang Shrine in supplication for safety and good sea harvests. Named after the village where it is located, the Chilmeoridang Shrine serves the goddess Yeongdeung and a couple, the Magistrate god and the sea goddess known as the Dragon King's Wife. The couple’s responsibilities are divided between the needs of the local residents (managed by the god) and the livelihood of fishermen and female divers (the domain of the goddess). The Chilmeoridang Shrine is where the Yeongdeung Welcome Rite is held on the 1st day of the second lunar month to mark the arrival of the goddess as well as the Yeongdeung Farewell Rite performed on the 14th. During this period, rituals for the mountain gods (dangje), which are performed in the first lunar month elsewhere in Korea, are carried out in other villages on Jeju Island. Only on Jeju are rituals for the mountain gods and rites for the goddess Yeongdeung combined into one shaman ritual, Yeongdeunggut. Compared to the simple Yeongdeung Welcome Rite, the Yeongdeung Farewell Rite is a sumptuous and more significant event. It is considered one of the most important of the shaman rituals and includes a rite for the Dragon King. The Welcome Rite begins with chogamje, a “calling of the gods” ceremony which involves greeting and inviting the gods to the shrine as well as reciting the participants’ names, followed by pungeoje, a “pleading for a good catch” ceremony, and ends with seoksalrimgut, a gut (shaman ritual) with a three-act play to entertain and appease the ancestral gods. The Farewell Rite also begins with the chogamje ceremony, but it also includes bonhyangdeum, an “entering the Village Shrine” ceremony. This involves asking the God and Goddess Couple to plead for the wellbeing of the village. The ritual includes three village officials offering drinks to the Couple and villagers asking that their wishes be granted. This is followed by chumul gongyeon, an “offering” ceremony in which drinks and rice cakes are offered to all the gods, a yowang maji, a “welcoming the Dragon King” ceremony, which is a special welcome for the Dragon King and the goddess Yeongdeung to ask them to ensure an abundant catch and safety at sea for the fishermen, and then by ssidrim, an “offering of seeds” ceremony in which fortunetelling is done with millet seeds and the sowing of seaweed seeds. Next comes the doaek mageum, “preventing disasters” ceremony that involves the throwing of a rooster to prevent disasters from happening in the village. There is also fortunetelling for the villagers and female divers. This is followed by the yeonggam nori, a play in which the village’s senior men launch a straw boat into the sea. The rite ends with the dosin, “sending the gods back” ceremony. Chilmeoridang Yeongdeunggut began to be widely known in 1980 as simbang (senior shaman) Ahn Sa-in was recognized as Skill Holder. At the time, the waves of modernization had resulted in a negative view of gut as being a dangerous superstition. However, the fishing people of Jeju, along with simbangs, went into deep valleys and sea caves to secretly offer up fervent prayers. Then, the ritual’s designation as an important intangible cultural heritage paved the way for its survival. Determined to revive the rite, Ahn Sa-in established an association with simbangs to safeguard the heritage. Among the founding members are the current Skill Holder Kim Yun-su, adviser Yang Chang-bo, and trainer Goh Sun-An. As Ahn, who had prevented the gut from disappearing on Jeju, passed away in 1990, Kim Yun-su was recognized as the second Skill Holder in 1995. There are currently 40 members. Although the rite is conducted by shamans, its real owners are female divers and ship owners, together called “dangol,” who prepare food for the rite and offer sacrifices to the gods. Starting from their early teens, the divers continue their work of collecting marine delicacies from the ocean floor, so their safety and abundance of the sea are their lifelong wish; and their existence helps maintain the Yeongdeunggut. Sending off the goddess Yeongdeung, the dangol prays: “When you leave, please sow seeds of turban shells, abalones, octopi and sea cucumbers so that we, the people who believe in the sea, can have an abundant sea catch.”

South Korea 2009

The tradition-bearers of the element are communities in the three water-puppetry guilds of Bồ Dương Village (in Hồng Phong Commune, Ninh Giang District), An Liệt Village (in Thanh Hải Commune, Thanh Hà District) and Bùi Thượng Village (in Lê Lợi Commune, Gia Lộc District). Water puppetry is a form of amusement for villagers during village festivals. Performances often takes place in a small nhà trò or thủy đình stage in a pond at the village’s communal house. Performers submerge themselves in the water, behind a bamboo screen, to maneuver wooden puppets with poles and robes. A show often includes short playful scenes with various puppet characters, such as the Tễu clown, dragon, turtle, lion, snake, fish, dragon boat, and so on. Puppets are made of sung wood (cluster fig), meticulously sculptured and ornately decorated. The puppet’s base, attached with a manual mechanism that allows maneuvering underwater, is always heavier than the top so that it can float halfway without sinking. Music, rooted from North folk songs and chèo music is an important component. Popular excerpts and scenes are intro by Tễu, wrestling, fishing, dragon dance, the Eight Fairies, so on. In order to accommodate new audience tastes in contemporary life, water puppet artists create new scenes and excerpt with more sophisticated techniques.