On 30 August 2019 at the National Intangible Heritage Center, Jeonju, Republic of Korea, ICHCAP held a special roundtable talk facilitated by Dr. Seong-Yong Park, Editor-in-Chief, to commemorate the tenth anniversary of the ICH Courier. Among the invited guests were Gaura Mancacaritadipura, Editorial Advisory Board Member; Boram Kim, Editor-in-Chief, UNESCO News for KNCU; Aigul Khalafova, Culture Specialist, UNESCO Almaty Office; and Phuttitarn Linina, UNESCO ICH Facilitator. Additional participants from ICHCAP included KEUM Gi Hyung, Director-General; Michael Peterson, Chief of Communications; Min Jung Kim, Programme Specialist. KEUM Gi Hyung opened the talk with his remarks.

For Buddhists all over the world, Vesak (Vaisakha, Buddha’s Birthday or Buddha Day) is the holiest day of year. It commemorates the birth, enlightenment, and death of Siddhartha Gautama, or the Buddha. It is celebrated on different days in many countries, mostly on the first full moon day of May or 8 April of the lunar calendar.\n\nWhile cultural influences have characterized various differences with regards to the treatment of celebrations, a common thread binds them together, making this unbroken 2500-year-old tradition one of the world’s oldest birthdays.\n\nOfferings of prayers, joss sticks, and incense, as well as giving food to the needy and making donations reflect the more traditional aspects of the occasion, whereas the popular festivities that accompany them, such as parades and processions of vibrantly decorated floats add a contemporary flavor to one of the world’s longest standing birthday celebrations.\n\nPlace of Birth, Where Buddhist Pilgrims Gather (Nepal)\nNepal is the birthplace of the historical Buddha in the fifth or sixth Century BCE. Jammed packed with festivities, Buddha Jayanti (Buddha’s Birthday) observances in Nepal, commemorate not only his birth but also his enlightenment and demise and runs for a single day. At the Maya Devi temple in Lumbini, where Queen Maya Devi, the mother of the Buddha, gave birth, large numbers of national and international monks, including pilgrims from different cultures and religions, make the journey to offer prayers and to soak up the carnivalesque atmosphere resulting from the temple’s World Heritage status.\n\nIn Kathmandu, thousands flock to ancient Buddhist sites such as Swayambhunath temple, the oldest temple in Nepal, and the Boudhanath, the biggest stupa in Nepal, to join the colorful processions of musicians and dancers while prayers and offerings are made by Tibetan monks in much the same way as when it was part of a trade route between Lhasa and Kathmandu. Full moons are always auspicious occasions, but lighting butter lamps, spinning prayer wheels, and chanting mantras on this particular one is considered extra special.\n\nKasone Festival, Watering of the Bodhi Tree (Myanmar)\nIn Myanmar, Buddha’s birthday celebration is known as the full moon Kasone Festival. In the festival, water is a dominant feature, with devotees pouring water on Bodhi trees, the same species under which the Buddha gained enlightenment in Bodh Gaya, India, more than 2,500 years ago.\n\nPouring water on statues is a regular ritual in Myanmar, particularly on full moon days, and symbolizes purification, goodwill, and good luck. Kasone is an exceptional full moon, with religious verses recited at temples or pagodas throughout the country. Particular reverence is observed at the Golden Pagoda (Shwedagon Zedi Daw, the most sacred Buddhist pagoda in Myanmar) in Yangon, where devotees dressed in white chant mantras and circumambulate the pagoda clockwise while pouring water on the statue according to one’s day of birth.\n\nIn keeping with the water theme, fish are also released into cooler waters of lakes and rivers during the dry season, with the nearby Kandawgyi Lake and Inya Lake in Yangon being the most popular spots to observe this ritual.\n\nYeon Deung Hoe, Lantern Festival (Republic of Korea)\nIn the Republic of Korea, the most popularly celebrated event honoring Buddha’s Birthday, is the Yeon Deung Hoe (Flower Lantern Festival). Generally held on a Saturday night a week before the nationwide public holiday, the main artery of downtown Seoul is illuminated by vividly decorated lanterns in all shapes and sizes in a parade, drawing a crowd of enthralled onlookers.\n\nThis annual tradition is listed on their national intangible cultural heritage inventory. These days, this has become one of the country’s most popular festivals, pulsating with an eclectic blend of traditional and contemporary Korean culture.\n\nIn the days leading up to the public holiday, devotees hang colorful lanterns containing their heartfelt wishes in local temples. The piece of paper attached to the base of the lantern usually contains one’s wishes for good health, or prosperity, or for academic achievement.\n\nOn the day itself, which falls on 3 May in 2017, devotees visit local temples to make offerings of flowers, incense, and candles. Interpreted symbolically as radiating warmth into darkness, here the Buddha becomes a manifestation of the lantern light.\n\nPhoto : Buddhist monks march through downtown Seoul during a celebration for Buddha's birthday

Jeju is a volcanic island filled with stones. Previous eruptions have produced volcanic bombs (large volcanic rocks) scattered around, covering the whole island. This is why it is difficult to cultivate crops in Jeju. Since the thirteenth century, the people of Jeju have been making stone walls to secure farmlands. The total length of stone walls is estimated at 22,100 km. These stone walls look like they are heaped up randomly. However, Jeju people’s wisdom is time-tested, unassumingly sturdy, hidden in those walls. Because the island is prone to strong winds all throughout the year, taking note of typhoons in the summer, they built the stone walls like roughly-heaped stones with holes to let the wind pass through, weakening the possibility of structural collapse.\n\nTamna is Jeju’s old name. The beginning of Tamna is illustrated by Samseong myth. Legend has it that three demigods emerged from holes in the ground. The ground is called samseonghyeol, which is still considered as a sacred place. The emergence from the ground shows difference in cultural archetype from the birth myth of the mainland involving the egg from the heavens. There are 18,000 gods and goddesses in Jeju. Jeju people believe that god lives in everything. Such belief is shaped by Jeju’s naturally difficult tendencies. As people in Jeju battle with endless wind and water shortage due to the island’s barren volcanic environment, they rely on gods to adapt to the roughness of Jeju.\n\nThere are Bonhyangdang Shrines, the house of gods protecting people’s livelihoods. simbangs (shaman in Jeju dialect) act as intermediary between Jeju people and gods. They perform yeongdeunggut in the second lunar month for haenyeo (female divers) and fishermen who depend on the sea for a living. The Yeongdeung is the goddess of the wind, who can raise the waves, which is why she is deemed important for the safety of people pursuing the sea. Jeju Chilmeoridang Yeongdeunggut, the representative yeongdeunggut in Jeju, was listed as an Intangible Cultural Heritage of Humanity of UNESCO in 2009. There are many other rituals for gods and goddesses of the sea, which are held in roughly 30 areas in Jeju during the same month. There are many stories related to goddesses in Jeju. Different from goddesses in other countries, Jeju goddesses neither depend on nor belong to gods. This is a characteristic shown by Grandmother Seolmundae, the giant who created the island by carrying soil in her skirts; Grandmother Samseung, the goddess of babies; and Jacheongbi, the goddess of farming. Jeju women have high self-esteem unlike those in patriarchal East Asian societies following Confucian teachings. They also participate in the economy more actively than their counterparts in other regions in Korea. Jeju haenyeo is a representative example of women’s participation in the economy. In 2016, the Culture of Jeju Haenyeo was inscribed on the Representative the List of the Intangible Cultural Heritage of Humanity by UNESCO during the eleventh Session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage in Addis Ababa, Ethiopia. It shows matriarchal characteristics of Jeju. In Jeju where the soil is not fit for rice farming, many women became divers to find food from the sea and learned how to cooperate with each other.\n\nDespite the unique challenges in the island, Jeju people have used nature without destroying it, depending on 18,000 gods and neighbors. Such characteristics form the core of the Jeju culture.\n\nPhoto : Jeju haenyeo (female divers) crossing low stone walls to get to the sea © Jeju Haenyeo Museum

One of this school's teachers, Diana Herawati, teaches Indonesian students and sometimes students from other countries how to develop procedure text in English A procedure text describes how something is achieved through a sequence of actions. Indonesia is rich in local knowledge that can be analysed and described as a procedure text. According to Diana Herawati, her classes are successful because they are rooted in love and local traditional wisdom. While these activities aim primarily at expanding language skills, they also raise awareness about the importance of culture and the environment and or nurturing responsible citizens.

Every year, the President Sergio Osmeña Senior High School organizes the Music, Art, Physical Education and Health (MAPEH) Festival. For the festival, each class performs a dance based on one of the country’s traditional dances. One student takes the lead in choreographing the dance and teaching his or her classmates, which is very empowering. As students come from all over the country, the MAPEH Festival is an opportunity to discover dances and songs from different regions and ethnic groups. It encourages students to share their heritage with their friends, empowers them to teach and promotes

"The Cultural Heritage Administration plans to designate tteok making (떡만들기), Korean rice cake making, as National Intangible Cultural Heritage. The designation will recognize the making and sharing of Korean rice cakes as a traditional culture and way of life.\n\nKoreans have made tteok by steaming grain flour in siru, a traditional steamer, or by boiling or baking, depending on the type of the rice cake being made. From a long time ago, Koreans have enjoyed making and sharing different kinds of tteok for major milestones in their lives as well as for important national holidays.\n\nHistorically, rice cakes have been a key offering for various rituals. They include rites held for village gods wishing for peace and prosperity as well as similar rites held for house gods like sangdalgosa. Rice cakes are also offered at gut rituals held by traditional shamans. In modern-day Korea, people distribute tteok to others in their community when they open a business or move into a new place.\n\nIn many ways, tteok is more than just a delicacy—given that Koreans distribute rice cakes to others for special moments of their lives, it can be considered an embodiment of sharing and generosity as well as a symbol of the unique Korean concept of jeong or a deep connection and harmony.\n\nIt is also notable how different types of rice cake are made for different occasions and how they have a story of their own. This makes tteok intangible cultural heritage that people need to learn to fully understand Korean culture.\n\nIt is unclear when Koreans started making rice cakes. However, archaeological findings show that Koreans have been eating rice cake since ancient times. Siru has been unearthed in historic sites of the bronze age and iron age. Siru can also be seen in the mural of fourth-century Anak Tomb No. 3 in South Hwanghae, North Korea."\n\nPhoto : Two women shaping tteok CCBYSA World to Table / Wikimedia

Normally, the summer season is a busy time for the Korean Cultural Centre (KCC) in Canada’s capital city of Ottawa. KCCs are a global initiative that were started in 2009 by the Korean Culture and Information Service, a subdivision of South Korea’s Ministry of Culture, Sports and Tourism. As of this moment, there are 32 KCCs in 27 countries. The KCC in Canada was created in 2016 under the jurisdiction of the Embassy of the Republic of Korea to Canada and its mandate is “to enhance Korea-Canada relations by promoting mutual understanding between Koreans and Canadians through the sharing of Korean culture, and facilitating bilateral cooperation between arts and cultural institutions.” The KCC does this through a number of engaging and interactive cultural activities which include exhibitions, performances, film screenings, festivals, cultural/language classes and outreach programs. This all had to be put on hold due to the ongoing COVID-19 pandemic, which has resulted in the temporary closure of a number of cultural institutions around the world, including the KCC in Canada.\n\nHowever, the KCC has managed to find a way to continue to deliver their programming. According to Mr. Jung Joon Rhee, Public Relations Coordinator to the KCC and the Embassy of the Republic of Korea, the KCC shifted its activities online and created “Virtual K-Culture”.\n\n“We launched the ‘Virtual K-Culture’ initiative to bring light to the variety of digital cultural content produced by our partner institutions in Korea, and provide Canadians an opportunity to experience Korean culture from the comfort of their homes,” says Mr Jung Joon Rhee.\n\nVirtual K-Culture includes a combination of their longstanding initiatives such as the promotion of K-Cinema as well as new content. There are three components to the Virtual K-Culture series: audio-visual, participatory and educational.\n\nThe audio-visual content is focused on videos that showcase Korean culture such as art exhibitions and performances as well as film screenings.\n\nThe participatory content requires the contribution of the audience, for example, in the form of K-pop cover dances, which are then used by the KCC to produce compilation videos. Another example of the participatory content are food “webtoons” (a digital comic format that originated in South Korea) that teach the audience how to cook different Korean food while talking about the cultural history of the dish.\n\nThe educational content is aimed at enhancing people’s knowledge about Korea and Korean culture through such means as Korean language learning resources and hosting online Korean culture workshops.\n\nThe shift to virtual content was quite natural for the KCC.\n\n“We already had those digital channels to complement our offline activities prior to COVID-19, so it was just a matter of searching for content and items and executing them with our audiences in mind,” says Mr. Jung Joon Rhee.\n\nAs a global leader in the field of ICT (information and communication technology), South Korea is one of the most digitally connected nations in the world with nearly every household having high-speed Internet access. South Korea’s success with ICT is due to their government’s policies aimed at promoting the use of digital technologies as well as Koreans’ enthusiastic response to them. South Koreans have a “balli balli” (meaning hurry up/faster in Korean) approach to life which also transcends to their use of technology as the majority of people are known to be early adopters of new digital technologies and services.\n\nTherefore, it is no surprise that along with the KCC, other cultural institutions in South Korea have transferred their programming online. One notable example is the National Gugak Center (located in Seoul). The National Gugak Center is focused on promoting traditional Korean music and dance by offering classes and showcasing performances. With the Center being closed due to COVID-19 and all performances currently cancelled, the organization has started to host concerts on their YouTube channel.\n\nAs the future surrounding COVID-19 remains uncertain, the KCC in Canada is planning on prioritizing their digital outreach as they look for new ways to allow people to experience Korean culture while adhering to the regulations concerning COVID-19.\n\nPhoto : VKC Logo © VKZ

Panshakanya Secondary School, located in the Chhauni area of Kathmandu, has developed an extra-curricular programme around the students’ living heritage. Many schools in Nepal have adopted a similar approach and there is a growing demand for a curriculum that better reflects local practices. This request for local content may soon be granted by the ministry of education.

Shanghai Zhongguo High School has promoted cultural heritage throughout its eighty-year history. Its current mission is to cultivate qualified citizens who have ‘their hearts in China, their eyes on the world, and dreams for the future’.

"The Cultural Heritage Administration has a new listing on the national intangible heritage list: the traditional Korean alcoholic beverage makgeolli and its associated culture. It incorporates the skill of making this milky and lightly effervescent rice wine and the cultural practices associated with sharing it. Makgeolli is conventionally brewed by cooking rice, mixing it with water and nuruk (a fermentation starter that contains sacchrogenic enzymes and natural yeast), and running the mash through a sieve after a few days of fermentation. Mak in makgeolli means ‘right now’ or ‘just then’ and geolli mean ‘to filter.’ Not only is the word pure Korean, but the name itself reveals the method of making the beverage and its characteristics.\n\nMakgeolli is an alcoholic beverage made from rice or other grains that is purported to date back to the introduction of farming on the Korean Peninsula. Histories on the Three Kingdoms period, such as Samguk Sagi (History of the Three Kingdoms) and Samguk Yusa (Memorabilia of the Three Kingdoms) include terms such as mion, jiju, and ryoye that presumably refer to what is known as makgeolli today. Baekju and other terms purported to denote makgeolli appear in Dongguk Isanggukjip (Collected Work by Minister Yi of the Eastern State) and other literary compilations from the Goryeo Dynasty. Books from the Joseon period, such as the novel Chunhyangjeon (The Story of Chunhyang) and the encyclopedia Gwangjaemulbo (Information on Comprehensive Things) contain mentions of mok-geolli or mak-geolli. Joseon-era cookbooks, such as Gyuhap Chongseo and Eumsik Dimibang, contain recipes for alcoholic beverages that would have been enjoyed as a cloudy makgeolli.\n\nMakgeolli can be made easily and at low cost simply with rice and nuruk. As a result, it was easily affordable, and it became the alcohol to sooth the sorrows of ordinary people. Makgeolli quenched the thirst of farmers throughout the working season. Korean farm laborers used to say, “If it all pays the same, I’d rather offer a hand to the farmhouse serving the most delicious makgeolli.”\n\nMakgeolli was also an indispensable element in ritual ceremonies and celebrations or mourning. Many traditions featuring makgeolli as a ritual drink have been transmitted to the present. The milky rice wine is still presented as an offering in many modern ceremonies commemorating, for example, the completion of a building, purchase of a new car, or opening of shops.\n\nIn a nutshell, the tradition of making and sharing makgeolli has been evaluated as a worth entry onto the national intangible heritage list for the following reasons: its transmission across the Korean Peninsula for ages; its historicity is supported by documents; it serves as an interesting subject of study in diverse academic fields such as history, food sciences, and folklore studies; and its association with a wide range of farmers’ songs, folkloric sayings, and literary work; among other reasons."\n\nPhoto : Makgeolli in a bowl. Public domain image.

The novel coronavirus fears have affected various sectors of the economy, politics, society, and culture. Notably, the cultural sector has been directly and substantially affected by the coronavirus crisis. Most of the public cultural facilities, including museums and art galleries, were temporarily shut down, and many cultural events and performances have been canceled or postponed due to the outbreak. The crisis has wreaked havoc on the performing arts industry. With measures taken to curb the spread of the coronavirus by preventing mass gatherings, concert halls, and theaters have been closed to help people avoid close contact with others.\n\nThe pandemic is also tough on traditional performing arts. It should be noted, however, how the performing arts community is trying to overcome this difficult time and use the crisis as an opportunity. They are looking for various ways to get through the health crisis. The National Gugak Center (https://www.youtube.com/user/gugak1951) and the Seoul Donhwamun Traditional Theater (https://www.youtube.com/channel/UCr2aWbG8Hz-EAl7cznvGO5Q), for example, are streaming live performances without audiences via Naver TV and YouTube. And several classical music companies around the world, including the Paris National Opera and the Bolshoi Ballet, are trying to bond with fans, using advanced technologies, by, for example, sharing videos of dancers practicing within the confines of a studio.\n\nLivestream performances provide audiences with virtual content they can partake in from home. Artists can have a live chat with viewers and be inspired to perform free improvisations, making audiences feel as if they were sitting in the front row. By using video technologies, online concerts offer audiences various views, unlike in-person theaters, where spectators can watch the stage from specific angles and distances. Livestream performances also enhance audience convenience. Viewers can enjoy great art while enjoying snacks and drinks from the comfort of their own homes. They can also talk to the people beside them and share their feelings with other audiences in real time while watching shows.\n\nHowever, there are some downsides. Audiences might find it difficult to concentrate on a performance when they experience it via screens and speakers. And although the latest technologies are used to deliver high-quality images and sounds, there are still limitations in bringing the full force of actual performances. This situation raises doubts about whether live streams can appeal to audiences with the same intensity that they might have in physical theaters.\n\nThe coronavirus pandemic has changed many aspects of life. It has also led to noticeable changes in the performing arts. Although there are still varying opinions about the audience’s absence, which is one of the most fundamental elements of performances, the recent proliferation of live streams can be considered a significant leap forward and have shown the possibility of further development.\n\nLivestreaming of traditional performances via online platforms is expected to play a significant role in lowering physical and emotional barriers and increasing accessibility to traditional culture, especially among young people who are more exposed to pop culture. Traditional performing arts will hopefully survive this crisis and come out of it stronger.\n\nPhoto : ‘Ogomu’ Traditional Performing Arts of Korea ⓒ Shutterstock/Jack Q.

"Sumbi-sori is the sound of pain and the sound of life,” said Yun-bok Kim, a native Jeju islander whose deceased mother dedicated her entire life as a haenyeo, a female diver in Jeju.\n\nSumbi-sori is a huffing sound the diving women make upon exhaling after diving up to twenty meters. Kim said that his mother worked day and night, half on earth and half in the sea. He used to bring some food to his mother at dawn, when she was resting on a bulteok, a small, stone-walled structure built on the coast, where women divers can change into or out of their diving gear or gather around a fireplace to talk about their know-how and families. Kim remembers sweet grilled seaweed that his mother would make for him at the bulteok. “I didn’t really want to get up early and go to the bulteok, but now I miss the old days.”\n\nOn 25 May, I participated in a field trip program, Walk along the Haenyeo, organized by the Jeju Haenyeo Museum. I was excited to walk around the vast, crystal-clear ocean under the blue sky. About twenty participants walked for an hour and a half with Kim along Sumbi-sori Path, a trekking course in Sehwa-ri, which is home to the largest haenyeo community in Jeju with 280 female divers. Along the path, we could find agar harvested and dried on the ground, shrines built near the seaside to pray for the safety and a good harvest of haenyeo and fishermen, spring water as a source of drinking water for the village, field walls built with basalt rocks formed from volcanic activities, and bulteoks.\n\nSumbi-sori Path was a good representation of haenyeo life. The women dive to pick various marine products, such as agar and seaweed, until May. Then, they stop harvesting when the spawning season starts in June. The work of the diving women never stops, however. During the spawning season that continues until August, they go back to their farms and plant seeds for carrots, potatoes, radishes, and other crops and harvest crops from winter to spring.\n\nPhoto 1 : Photos of Shamanistic rituals organized by women divers in Jeju, taken by Kim Soo-nam, exhibited at Sanjicheon Gallery ⓒ Jinhee Oh\nPhoto 2 : A bulteok at the seashore of Sehwa-ri in Jeju ⓒ Jinhee Oh