▶ Play 3. A Pact for Peace A Journey to Kalinga\nThis episode was first aired on Filipino television on April 18, 1996. This episode has been modified from its original format.\n\nAn animal was offered in the context of the Kalinga cultural ritual.\nHistorically, the Kalinga is a mixed group (Calinga, Kalingga, Kalina’), but it is now considered as a more or less homogenous group in the province of Kalinga. Subgroups of the Kalinga may also be found in the adjoining provinces of Apayao, Abra, Ilocos Sur, and Cagayan. There is a small group of people in the province of Ifugao also called Kalinga but who are not related to the central Kalinga population. The core area of the group is in the drainage areas of the Chico River and its tributaries in northern Cordillera. One of the ways in which this culture has been subgrouped is as follows: Balbalan (northern), Lubuagan (southern), and Maducayan (eastern). Another suggested subgrouping is: (1) Giad’an Balbalasang, (2) Sumadel, (3) Lubuagan, (4) Nabayugan, (5) Ablig Saligsig, (6) Kalagua, and (7) Mangali Lubo. In addition, there is a little-known highly mobile group in the Kalakad-Tupac area in east Tanudan.\n\nThe members form a mixed group of people thought to be descendants of migrants into the area from the Cagayan Valley to the east and the province of Abra to the west. There is a marked difference between the northern and southern populations due to the introduction of wet rice terracing in the south from Bontoc. An eastern grouping caused by eographic circumscription is also recognized. The society is organized into endogamous groups stemming from budong (peace pact) alliances. Because of their dress and personal ornamentations, the Kalinga have been dubbed the “Peacocks of the North.” Two distinctive features are the octagonal house in southern Kalinga, and the peace pacts that they enter into to preserve relationships between neighboring groups. Settlement areas are denser in the south.\n\nAgriculture is also carried on in terraces, though on a smaller scale than the Ifugao and Bontoc, and field preparation is done with the use of draft animals. Rice is the principal crop. Swidden crops include beans, sweet potato, corn, sugar cane, and taro. Coffee is a popular cash crop. The Kalinga are also known for their pottery, baskets, and metal craft.\n\nAlthough in the past, peace pacts had been common among the numerous ethno-linguistic groups, the budong of the Kalinga has caught the country’s imagination. Warring groups enter peace-enhancing arrangements through an elaborate procedure and the holders of each party keep token symbols from the other holders. These symbols ensure that the communities adhere to the terms of the pagta, the rules dictated by the pact.

There are many forms of weaving and many items which can be woven on Kosrae. These include the weave mat (kiaka otwot), fan (pal), basket (fotoh), thatch on the ridge of the roof of a house using coconut fronds (sraho), fahsuh (weaving thatch roof using Nypa palm used only), among others. Kosraean warp-striping weaving may be considered unique among weaving cultures due to its complexity. \n\nThe Kosraean word for weaving depends on the item being woven. There exists a variety of woven items which served as currency, reinforced family ties and other relationships, as well as honor. In some cases, a chant may be shared to ensure a girl’s future in weaving. In the past and on contemporary Kosrae, weaving can be found in the preparation of food baskets for funerals, fishing baskets worn on waist of women fishing in the lagoons, loom-weaving for belts (tol), thatch roofing, hats, and cordage for example. \n\nThere can be at least three known types of baskets important in food preparation: fusanie, in the form of a star and used in storing fafa, (2) usanie kapiel or fusanie sa nu which is a larger form of the previous one and woven from young coconut leaves, and (3) kuumpäl which is a kind of basket with handles made of coconut fronds and named after the woven plate. Weaving served not only a function but can be considered a marker of the past. One particular kind of cord can be called nosunap, named after the god Nosunap (also spelled Nasrunsiap or Nazuenziap). \n\nKosrae used to be one of the largest consumers of sinnet cord, suggesting significant movement. This is consistent with oral histories collected in the recent past which connected Kosraeans all the way to Satawal and Puluwat. Among the most common materials for weaving, banal fiber, hibiscus, and pandanaus stand out as the materials of choice. The preparation for each material depends on the item to be woven. While banana fibers may be most common, the hibiscus fiber is easier to dye. Dyes for strands of weaving materials may come from terminal leaves, certain types of mud, and mangrove calyx (black), turmeric (yellow), banana suckers (blue), or marinade citrijolia (red). Of these colors, red was the most prized. The preparation of weaving materials can be lengthy, depending on the plant. The hibiscus fiber needs soaking in sea water for several days while the banana fibers need to dry in the sun and then each fiber is separated into thinner strands. Elders on contemporary Kosrae continue to practice weaving for it serves many uses.\n\nCarving : Carving in Kosraean culture is carried out by the mukul (men). They carve many items, including tok yot (stone fafa pounder), tok sak (wooden pounder for taro and banana for a dish called ainpat), tah (an axe for cutting breadfruit), fuhfak (for wooden handle of an axe used for firewood), oak (canoes), tuhp in fafa (wooden tray shaped like a boat used for presenting fafa), and mwe ahryahr (wooden spoons of many types including long or short or flat ones). The laklak (outrigger of a canoe) is another item which needs to be carved. Carving of toys and wooden sculptures. Oars that are carved along with the canoes.\nBuilding Local House : There are many kinds of houses which can be built using Kosraean methods, including in um (a cooking house), imun oak (canoe house), and iwen monglac (local resting house). Building a local house has always been a community effort, even today; although, of the heavier work is done by the mukul (men) and the weaving for the thatch on the roof is carried out by the muhtacn (women). The mukul will go into the forest to obtain materials from the forest and sometimes from mangroves, depending the type of wood needed for a particular type of house. There are five main sizes of wood needed to build a house and ten parts of the house requiring these five sizes of wood. The sru (posts) are the largest size and heavy. Moving them may be accompanied with a work chant which serves as motivation in lifting, moving, or pulling of the heavy objects. The next size includes kaclacp, lala, and ohl. The kaclacp and lala supports the ohl, which sets the height of the house. The next size wood is used for pokwuhsr (trusses). The next size smaller is used for sahkpahsr (rafters) and folo (beams). The smallest size are for the kwesrihk which is only for thatch roofing (it is where the thatch can be attached) and sukunum which is placed to support the thatch from the bottom. Cutting down the trees is according to the Kosraean moon calendar as is moving the logs from one part of the island to another to use the logs. Paksak (literally, floating of objects) refers to the right time to move the log from one place to another using rivers or channels. This is dependent on the tide. This practice existed because transportation was not available during that time so they usually cut down these big logs and used the chant to get the log to the shoreline and then move the log in the process of paksak to its new location.

This dance is a reconstruction of the masked dance performed in the Drametse region, rearranged for a solo performance. ‘Nga’ means drum, and ‘Cham’ means ‘masked ritual dance’. The Drametse Nga Cham is a dance performed during the Drametse festival to commemorate the great teacher ‘Padmasambhava’, who brought Tibetan Buddhism to Bhutan in the 8th century.\n\nIt is said that Drametse Nga Cham originated from a dance performed by legendary male and female heroes living in the celestial world. Traditionally, it was performed by 10 musicians and 16 male dancers. The dancers wear monk’s robes and wooden masks depicting real or legendary animals, and dance in the temple yard.\n\nDrametse Nga Cham has an important place in the Bhutanese society, with religious and cultural significance. The Bhutanese see this dance as the source of their spiritual strength and a symbol of their national identity. However, there have been challenges in its transmission in recent years, with a decline in the number of practitioners and students.\n\nCharacteristics:\n∙Inscribed to the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008\n∙Cham, a type of masked ritual dance\n\nPerformed by Ngawang Tencin\nDirected by Ngawang Tencin

Rampai Aceh is a reconstruction of Saman, a traditional performance art of the Gayo tribe of Aceh, Sumatra. The Saman dance which can be traced back to the 13th Century, is a group dance performed by over 10 dancers, who kneel in a row and perform the identical moves in a highly coordinated manner. They clap, slap their chests, thighs, or the floor with their palms, bounce their fingers off each other, gesture with their hands, shaking and twisting their heads from side to side to complex rhythms. The moves express scenes from nature and the daily lives of the Gayo tribe, such as leaves flying in the wind, water buffalo bathing, and ploughing the field.\n\nThe leaders of the performance are called “Penankat”, who sing poetic verses. They are accompanied by drums, rabana and dynamic clapping. The poetic verses sing about a wide range of themes including tradition and development, religion, heroic tales, morals from daily life and love stories, told with wit and satire. Saman represents the communal values of patience, cooperation and helping each other. Saman, which is enjoyed by people of all walks of life, is performed widely at a variety of occasions, including national holidays such Independence Day, religious occasions, welcoming ceremony for honored guests and weddings. However, with rapid urbanization, youth have been leaving for the city, creating problems for the transmission of Saman for the Penankat who are unable to find suitable successors.\n\nCharacteristics:\n∙An original dance based on the Saman dance, inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2011\n\nPerformed by Marwar Budaya Dance Atelier\nDirected by Maria Sofia Trimawarsanti\nPhotographed by Maria Sofia Trimawarsanti

Anna Yau talks about the roles of sustainability program for reviving landscape and community. This project is initiated by a local community named Lai Chi Wo which has been depopulated in the 1970s. It facilitated Lai Chi Wo to revitalize its living Socio-Economical and Associative Landscape with living heritage approach.\n\nANNA W Y YAU is a Project Manager for HSBC Rural Sustainability Programme at the university of Hong Kong. He has BA (Japanese Studies), MA (Cultural Management) from the Chinese University of Hong Kong, and PgDip in Cultural Heritage Management from the University of Hong Kong. She is an accredited heritage conservationist (HKICON), Project Management Professional (PMI), as well as a member of the Documentation and Conservation of Buildings, Sites and Neighbourhoods of the Modern Movement (Docomomo) Hong Kong Chapter.

In 2017, Tajikistan ratified the 2003 Convention. Two years later, the Tajik government passed a decree and project to take place between 2013 and 2020. The goals of this project were to safeguard ICH from disappearing; reviving traditions; helping and supporting performers and masters; endorsing cultural elements accessible for wide use; studying and preparing books, films, and musical discs; and organizing folk festivals, cultural competitions, and other exhibitions. The festivals have several social and cultural functions due to their continuity. Infestivals, a person experiences his/her membership in society and feels the collective solidarity. Festivals also include didactic elements, mainly structuring the young generation in the task of responsibility among other members of the society; they should follow prescribed social and cultural norms. At the same time, festival also function on a psychological level, giving people a sense of national or ethnic identity and building social integration, solidarity, thus creating an atmosphere of friendship.

A growing interest in cultural heritage by the corporate sector has offered new opportunities to safeguard, protect, and present both tangible and intangible heritage. Through strategic investments of capital, expertise, and technology into the cultural sector, corporations offer an opportunity to revitalize a sector beleaguered with precarious government funding and unpredictable public support. Nicholas Pozek stressed that the cultural sector must continue to approach the commoditization and commodification of cultural goods with skepticism.

The water puppet theater troupe of Hong Phong formed in Bo Duong Village, about 60 km east of Hanoi. Hong Phong water puppet theater is believed to have begun in the late seventeenth century-the shapes of the puppets used in this art were found carved on the pillars of the village temple. The troupe performs for visitors to the village's traditional festivals, recounting various stories about farmers' lives and the village through puppetry accompanied by music.\n\nThis video demonstrates the connection between the puppet theater and communal worship, in addition to the significance of the performance in Hong Phong Commune.

Phu Dong Village in Vietnam holds a traditional festival to celebrate Saint Giong from the seventh to the ninth days of the fourth lunar month every year. One of the most important figures in the festival is Hieu, the Flag Commander. It is the Flag Commander's responsibility to select young men of good character from decent families in the village to serve the saint. Those selected are honored by the local residents after taking part in the festival.\n\nThis video shows the social and religious aspects of the lives of local people who worship their local god, as well as the spiritual life of the local community reflected in the festival.

Dodol is a representative sweet treat of the Melaka region that is loved by people of all ages in Malaysia for its distinc\u0002tive sweet taste. The traditional method of making dodol is a complicated process using a firewood brazier. Although dodol is mostly mass-produced by machinery these days, its unique tradition has been very much kept alive. \n\nThis video takes a close look at the characteristic taste and process of making this traditional snack, while also captur\u0002ing how community members not only earn a living but also build bonds across generations through dodol.\n\nA closer look into one of malaysia’s sweet treats that is famous in Melaka dodol. How wonderfully tasty they are, how villagers are able to make a living thanks to them, and how the process of making them brings a community closer, regardless of age. The traditional way of making dodol using firewood has not lost its uniqueness and is still relevant even though machineries are mostly used to make them in larger quantities now due to the demand in malaysia and the vision of marketing dodol globally for the rest of the world to enjoy.\n

Nepal's Hereditary Musician Castes_Folk Melodies in Sarangi and Jhamtaar\n\nPerformers: Padam Gandharva, Surbahadur Gandharva\nDate of Recording: 1994\nCaste: Gandharva\nCollector: Ram Prasad Kadel\n\nHere two Gandharva musicians, Padam Gandharva and Surbahadur, Gandharva, perform some popular folk tunes of Nepal in Sarangi and Jhamtaar. Both Gandharva are very famous musicians in their communities. Sarangi is a very popular string instrument of Nepal, whereas Jhamtar is a rare string instrument. The Music Museum of Nepal has filmed this video for its archive, which hosts various rare folk songs and dances of Nepal.\nInstrument: saarangi, jhamtaar

This is an original dance based on the iconic Shuaifa dance of the Wa minority group in China, expressing their hunting lifestyle. Male and female dancers fling their long black hair energetically, impressing the audience with powerful and controlled movements. Shuaifa dance, in which female Wa dancers fling their long hair vigorously, is the most famous Wa dance commonly seen at religious rituals and festivals.\n\nCharacteristics:\n∙An adaptation of the traditional Shuaifa dance of the Wa, characterized by the flinging of long hair\n\nPerformed by Seo Eun Dance Company\nDirected by Zhang Ge(張格)\nChoreographed by Li Ying