Lồng tồng means going down to the fields, an important agricultural ritual of the Tày people in Nam Mẫu commune, Ba Bể district, Bắc Kạn province, held on January 10th. The place where the Lồng tồng festival is held is a large, flat land in the center of the commune. The organizing committee erected a pillar in the center of the ground and built a stage to serve as an altar. The festival opens with an extremely bustling lion dance performance. In the past, representatives of households came together to carry offering trays to the largest plot in the village's fields. Today, representatives of each commune and town of Ba Bể district will lead the ceremony and put the ceremony on their heads. The ceremony tray includes fruits, candies, incense sticks, wine, sticky rice, and boiled rooster. The offering trays are set up in rows, with Master Mo's tray at the top serving as his offering tray for overseeing the event. Master Mo recites prayers, gives thanks to heaven and earth, prays to the Agriculture God, Phuc Hy God, Mountain God, Water God, and Tutelary God, praying for a new year with everything going as expected, prosperity in life and prosperity, and a bountiful harvest. The girls offered water that had been collected and kept cold in gourd shells. Sprinling water in all four directions, Master Mo lifted his face to the sky and everyone gathered to receive blessings. Following that, Master Mo carried out the shuttlecock throwing ceremony first; this is an exclusive characteristic of the Association. The festival took place very enthusiastically with folk games such as pushing sticks, blind man's bluff; duck neck throw; playing drums blindfolded; hit the spinner; performances and cultural exchanges such as then singing, dan ting, sli singing, lượn singing, bowl dancing, Khèn dancing, flute playing; competitions for sewing shuttlecocks, pounding rice cakes, and presenting feasts; souvenir and local agricultural product stalls; Photo exhibition about the homeland.

National Intangible Cultural Heritage, Republic of Korea Iron casting is one of the oldest professions of mankind. Iron technology is assumed to have been introduced to Korea around the 5th~6th centuries BCE. According to “Dongyichuan (Biographies of Dongyi) in Weishu (Book of Wei)” from Sanguozhi (Records of the Three Kingdoms), Koreans produced and traded iron ware. Considering the crucial role of iron in the development of civilization, iron technology and smiths were matters of national interest in ancient states. With the introduction of Buddhism to the Korean peninsula, Buddhist temples were built all over the country, and numerous temple bells were cast. Naturally, bell founding became an important profession. Korean temple bells are characterized by their clear sound with deep resonance and exquisite surface decoration. Mostly shaped like upturned crockery jars, Korean bells typically have a dragon-shaped hook and a sound tube at the top. The oldest known temple bell in Korea is the Bronze Bell of Sangwonsa Temple in Odaesan Mountain, made in 725 during the Unified Silla Period. In terms of size and aesthetic value, the Sacred Bell of the Great King Seongdeok, dated 771, is considered peerless. Korean temple bells were traditionally cast using beeswax models. Though they vary according to the size of individual bells, Korean traditional-style temple bells are basically cast with an alloy of copper (80%) and tin (17%). For the model, beeswax is mixed with cow fat at a ratio of 8:2, but the ratio changes according to climate. The authentic bell founding process is as follows: bricks are piled to form a support mount slightly smaller than the intended bell size; a mixture of clay and sand is applied to the brick mount until the intended bell form is obtained, and the surface is smoothed out with a mixture of graphite powder and water; a wax model engraved with all the decorative patterns is made over the mount; the model is covered twice with a thick mixture of clay and coarse sand and allowed to dry; heat is applied to melt the wax inside; molten alloy is poured into the cavity; after the alloy cools and hardens, the mold is removed, the bell is trimmed, and the surface designs are given their final touches.

National Intangible Cultural Heritage, Republic of Korea On the occasion of the event, the village is divided into two sides: those living in the east section of the village and those living in the west. The winning side will reportedly enjoy better harvest in the year. The play used to be performed around the full moon period of January 15 on the lunar calendar; now, however, it is performed along with a tug-of-war competition during the March 1 Cultural Festival, held to commemorate the independence movement carried out with the locals in Yeongsan, which played a leading role during the colonial period. The event is said to have started from the wish to stop the evil power of the two nearby mountains, i.e., Yeongchuksan and Jagyaksan (also called Hambaksan), which look like two bulls confronting each other. With the approach of January 15 on the lunar calendar, villagers flock to a nearby mountain and fell a 10m-tall tree. A pyramid-shaped structure is made using a log and straw rope that people will carry on their shoulder, with the leader of the team, together with two lieutenants, standing at the top of it, giving command to fight the opponent. A wooden carved bull head or a mask is put on the top of the structure. Prior to the commencement of the battle, farmers’ music is played to create a delightful atmosphere. The team that makes the opponent’s bull head fall to the ground wins. Yeongsan Soemeori Daegi is a local folk play performed to pray for good harvest.

National Intangible Cultural Heritage, Republic of Korea As a folk play performed in Andong around the full moon period of January 15 on the lunar calendar, it is said to have stemmed from the battles between Gyeon Hwon of Later Baekje and King Taejo (Wang Geon) of Goryeo. Villagers select good trees to be used for the play in nearby mountains toward the end of the preceding year, hold a sacrificial rite for mountain deities, fell them, and carry them to the village. Since the thickness and solidity of the trees are decisive factors of the battle, they work on the trees under tight security to prevent opponents from getting information on the trees. The village is divided into two sides according to their place of birth. On the event day, farmers’ music is played to arouse people’s interest. People stand on their side of the battle and try to discourage the other side by raising the wooden structure they made. The leaders of the two sides stand at the top of the raised structure set up against that of the opponent team. They balance their body by holding the string tied to the top of the structure and give commands to their team. The team that makes the opponent’s wooden structure fall to the ground wins the battle. The beauty of the play lies in the spirit of fair play. If any participant in the play is in danger, both sides immediately back off and get him out of danger before engaging in the battle again. As a mock battle among males, Andong Chajeon Nori displays the martial spirit kept by the people in Andong. It is also a rite of praying for a good year for crops. The winning side will reportedly enjoy better harvest in the year.

Worshipping practices of sacred sites in Mongolia have been developed in specific cultural space of nomadic lifestyle in the vast grassland steppe of Central Asia. One of the main characteristics of nomadic culture is its close relationship and harmony with nature and environment. These practices, according to ancient shamanism, are based on belief in the existence of invisible deities of sky, earth, mountains, and all natural surroundings. Furthermore, Mongolians believe that these deities exist on the top of the mountain or any hill between sky and earth and choose these places as sacred sites for the worshipping for and offerings to these deities. They pile up Ovoos (stone mound) in these places and perform worshipping rituals and ceremonies. All participants at the worshipping rituals ask a deity to bring a timely rain, to protect humans and livestock from natural disasters, and to bestow prosperity and blessings on the participants and local people of given areas. In early times, sacred sites were worshipped with shamanic rituals and these wonderful traditions were later enriched with Buddhist teachings and rites. In a sense of respect and symbol and in geographical importance, sacred mountains, hills or the head of rivers in general have become as a cradle (centre) of the natural and cultural areas concerned and create a specific socio-cultural space and a unique cultural heritage landscape. These sacred sites are the symbol of cultural identity and spiritual cohesion of local people concerned and a sacred site for performing worshipping rituals and organizing important social events and ceremonies of given communities. Researchers regard the worshipping practices of sacred sites as multi-functional and multi-content cultural heritage element. The worshipping rituals in Mongolia have originally been conducted by the kin group and later by the local and indigenous people of a specific areas and further by specific representatives of State authorities and interested people at national level. The procedures and ritual order of worship ceremony are usually similar but some differences can be observed in regards to local customs and traditions. In different places, the people who lead worship ceremony are variously called as the owner of Ovoo or head of Ovoo. Those experienced people should be native and respectful people. In rare occasions, if a ritual is conducted in the way of shamanic tradition, a shaman leads this ritual ceremony. If it is a Buddhist ritual, a monk leads a worship ceremony. The key organizer consults with respectful elders, the head of the Buddhist monastery or shaman about the time for conducting ceremony. Timing is determined in accordance with traditional astrology. Once the time is set up, the day of worship is publicly announced. A worship ceremony is often conducted during the summer and/or autumn of the year. In the early morning before sunrise, all participants, in their best dresses, carrying offering food and items, start to head towards the Ovoo together with their young children. Bringing young children to the worship ceremony allows the youngsters to learn the customs and traditions of the community. Before starting the worship ceremony, varied coloured ceremonial scarves are tied to the main wood that is placed in an Ovoo and a hand-made figure of the deity is placed on white cotton in front of the Ovoo. Offering food and items are also placed in front of the Ovoo. Honourable guests, usually elders, sit in the north west direction of the Ovoo. If the State worship ceremony is performed, a state official opens the ceremony by reading an official decree issued for particular worship ceremony. Buddhist monks sit in the north east direction of the Ovoo. There should be more than three monks. Monks should possess knowledge of how to recite (sutra) offering texts with the use of various musical instruments. Sometimes the elders recite offering texts. Offerings including dairy products or cooked meats are placed in the east of the Ovoo. Various aromatic substances such as juniper’s needle, wormwood and wild thyme are burned as a sanctification of the sacred site. The procedure of the ritual ceremony starts with invoking deities and nymphs to come to the offering site then followed by presenting various offerings to them. After making offerings, participants of the ceremony make requests to deities and nymphs to grant richness in livestock and bestow success and prosperity on them. Monks chant sutras dedicated to this mountain and Ovoo. Meanwhile, an arrow called as bringer of auspiciousness is shot towards the sky and mark out any livestock animal as being consecrated to a divinity. Following the ceremony, a festival of horse racing, wrestling and archery competition as well as singing and dancing take place immediately. This tradition is highly considered as one of unique and humane intangible cultural heritage of Mongolia. - Locals participate at sacred site worship ceremony on a voluntarily basis. The local elders personally teach younger people how to attend and behave at the worship ceremony. A sacred site worship ceremony brings all community members together and builds a sense of community and solidarity. - The worshipping natural environment creates more awareness among the people about interdependence between human beings and the environment and creates more respect for the nature. This is one of the best environmental protection methods that has been preserved by the Mongols since ancient time. - The ritual procession is based on Mongolian folk beliefs, literature, poetry, song, dance, rituals, festive events and as well as handicrafts. Thus, the sacred site worship ceremony preserves those ICH elements through time. In sum, it is clear that worshipping practices of sacred sites have immeasurable value both in transmission of ICH and as a source of public education, identity and pride. At the practical level, these practices play an important role in maintaining ecological balance and the preservation and protection of biological and cultural diversity. This heritage significantly contributes to the protection of our natural environment and wildlife as sacred and pristine.

Mongolia 2017

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.

The practice of propitiation and timely offering (Choed-pa means "offering") of food and drink to the deities has long been found in the history of the people of Bhutan. Although most of these ancient practices have not been put into words, many of these sacrificial rituals to nature gods and deities are still practiced in most parts of Bhutan. These beliefs remain strong as people seek protection from evil spirits, sickness, during disease and famine, and wish for blessings and prosperity. The sacrificial ceremony is held annually on the 15th day of the first month of the Bhutanese lunar calendar. The 15th day is considered the most auspicious day of the month. Depending on time availability, the ceremony can also be held on the 10th day of the first month, but the 15th is the preferred day. The Choedpa ceremony takes place on the mountain top where Jela Dzong stands at an altitude of about 3000 meters above sea level. Jela Dzong (fortress) was built in ancient times to defend enemies. Therefore, the whole area is called Jela Dzong. The fortress is under the care of the government and has been converted into a Lhakhang (temple) where a Lam (teacher) has been appointed and some monks study and live under him. There are no human settlements except for the nomads and yak herders who camp nearby and graze their yaks in the meadow. It takes about 5 hours on foot to reach Jela Dzong from the nearest village downhill. In earlier times, this sacrificial ceremony was important for the well-being of the family and the entire household. With the passage of time, this custom has lost its significance. Nowadays, only a handful of people make the effort to pack their belongings and head up the mountain. Changing times have meant that the 5-hour journey to Jela Dzong is considered too arduous and time-consuming. Instead, some people have considered simplifying the ceremony and going to a nearby mountain peak, only an hour and a half away, to perform the ceremony. It is debatable whether this will work, but according to Ap Dorji, villagers seem to admit that it has worked so far. Still, it is obvious that many things have changed and the custom is losing its meaning.