The main contents of this publication are reports from thirty-two nations collected by ICHCAP from 2009 to 2015 as part of its annual projects to collect information on intangible cultural heritage safeguarding in the Asia-Pacific region. We have also compiled information from other reports and conference materials collected by ICHCAP to present key data, such as national inventories and information on related organizations, in an easily accessible format.

Taumako, one of the Duff Islands, is a Polynesian island within the Santa Cruz group in Temotu Province to the southeast of the Solomon Islands, in the southwestern Pacific. Taumakoans speak the Veakau-Taumako language, which comes from the Samoic branch of Polynesian languages. Taumakoans still practice ancient navigational techniques and are known for building a type of proa sailing canoe, the Tepuke, using local materials. They maintain traditional ways of living, relying heavily on subsistence farming and fishing.

In Korean traditional society, Jultagi (tightrope walking) was practiced as part of entertainers’ performances, where large banquets were held in administrative halls or noble houses on holidays. Jultagi, which was considered as the essence of Madangnori (traditional Korean outdoor performances), is a traditional Korean performing art that refers to “the players’ performance of comedy, musical storytelling with physical expressions on the bare rope in the air.”\n\nRecords of Jultagi dates back to the Goryeo Dynasty (918-1392). According to the records, Jultagi has been called by various names, such as Dapsakhee, Dapsak, Jusak, Bosak, Saksangjae, Juseung, and Yiseung, which commonly means “performing on a rope.”\n\nThe Jultagi today can be classified into two, the “Gwangdae Jultagi” and “Tteun-gwangdae Jultagi” based on the characteristics of the performers. The Gwangdae Jultagi was performed by Daeryeong Gwangdae, who were affiliated in the central or local government offices, while the Tteun-gwangdae Jultagi, which is also called “Eoreum Jultagi,” was performed by traveling performing troupes. The former one was designated as Important Intangible Cultural Property No. 58 in 1976, and has been transmitted ever since, while the latter one is transmitted as one of several performances of Namsadang Nori, designated as Important Intangible Cultural Property No. 3 in Korea.\n\nWhen it comes to tightrope walking, it’s easy to think of only the acrobat performing on the tightrope. However, for a proper tightrope performance, not only the acrobatic performer, but also the clown who stays on the ground and chats with the performer on the rope, and the musical performers who plays janggu (double-headed drum), piri(pipe), and haegeum(string instrument) and lead the lively atmosphere are essential. Only when all the players mingle with the crowd, Jultagi, the Korean performing art of communication and harmony, is completed.\n\nThe running time of the tightrope performance continues throughout the afternoon. Therefore, it is necessary to carefully organize the composition with acrobatics, chats, and music keep the audience entertained. Starting with the “Julgosa,” a ritual ceremony for the safety of the performance, Jultagi shows a variety of tightrope walking skills, from simple acrobatics to difficult tricks, inducing dramatic tension among spectators. Afterwards, through “Jung Nori” and “Walja Nori,” the dramatic tension of the audience is relaxed and entertained. Subsequently, the audience’s dramatic tension is once again induced through several acrobatics, and then the tension is relieved through the final “Salpan” ground acrobatics performance. Although there may be some changes depending on the performer or situation, Jultagi performances are generally conducted based on this order.\n\nThe traditional Korean tightrope walking is differentiated from other tightrope acrobats in that it does not only focus on the acrobatics, but also leads the playful atmosphere harmonized with songs and storytelling. Korea’s Jultagi, which has these distinctive characteristics, is unique and valuable in that both the performer and the audience communicate and harmonize together in a pleasant atmosphere in pursuit of inner freedom.\n\nToday, the reputation of Jultagi performances, which were as popular as Pansori (narrative songs) in the past, is losing its light in modern times. Occasionally, it can be found at local cultural festivals, but it is difficult to maintain its reputation enough to be labeled as a vulnerably transmitted element. Active endeavors and public attention are needed at the national level so that Jultagi, which has played a role in strengthening Korea’s identity since the past, can be transmitted to future generations. Above all, since the value of an ICH element is elevated when safeguarded and practiced, so efforts should be made to enhance the reputation of Jultagi through various performances considering the transmission environment of today. I conclude this article in anticipation of the day when Jultagi, which can give people a sense of freedom from the COVID-19, will be able to freely cross the sky amid the crowds’ cheers.\n\nphoto : Jultagi of Namsadang Noli in 2008. © Flicker account : Republic of Korea, Copyright information link : https://creativecommons.org/licenses/by-sa/2.0/

We would like to explore the idea of cultural revitalization within the context of traditional Quebecois dance. This will be done through a fairly well-known example—Brandy Frotté from the town of La Baie. In this short article, we will explore when and how this tradition was first collected and promoted and what has become of its practice over the past forty years.

he upheaval and extinction faced by traditional culture is a core issue in today’s world. It has brought us to the realization that we are living in an important transition period where the future of humanity will be determined. In particular, the advent of digital platforms has provided a communication channel to link people together; the importance of these platforms seems poised to become much greater. In this era, in which means of communication are facing remarkable qualitative changes, oral tradition is under considerable threat. In past eras where humankind created languages and memories to resolve all kinds of issues and share information, speech was a way to achieve totality. Through speech, people delivered their thoughts and opinions, created new things, and embraced differences to become one. As such, spoken language became an absolute means and solution to maximize the immense capacity of humankind. People discovered interests and meanings through conversations; they combined work and enjoyment by singing; they wore masks and gave movement-based performances accompanied by amusing anecdotes. By reciting and dedicating bonpuri, a ritual song to pray to deities and receive oracles, their creations became content passed down through oral culture.

When it comes to the preservation of intangible cultural heritage (ICH), threats that lead to the loss of the viability of one or another element of ICH are latently implied. From a social anthropological point of view, this is a question of the interaction between tradition and innovation: do new technologies always negatively affect traditional art? How does modern everyday life affect the sustainability of a traditional view of the world that underlies the identity of each element of ICH?\n

“ICH and Gender” introduces the mutual relationship between gender norms and ICH and emphasizes that understanding the intimacy between ICH and gender is important for effective ICH safeguarding and gender equality.

Culture is chiefly perceived as a driving force for sustainable development in the UN’s action plan for people, planet, and prosperity entitled “Transforming Our World: 2030 Agenda for Sustainable Development’. In this context, there is a foreseeable strength in ICH to generate means for sustainable development. The following issues are considered as starting points of discussion: (1) the methods of aligning commercial activities with ICH safeguarding activities, (2) the possible risks to ICH viability and the ways in which they can be mitigated, and (3) the prospect of moving toward and maintaining a mutual relationship between ICH Safeguarding and development policies.\nKeeping the grassroots level highly pertinent in Session 3, we intend to put various NGOs activities at the center of the discussion, particularly in light of our pursuit to assess their presence in sustainable tourism development and eco‐tourism, looking into the possibility of expanding the role of NGOs in areas such as cultural mapping and gender equality. To end, a plenary discussion will be held. The outcome document will be circulated to share the discussion points of and lessons learned from the meeting.

The Tao Foundation for Culture and Arts is a Philippine non-profit, non-governmental orga-nization based in Quezon City, National Capital Region, Luzon and in Agusan del Sur, Caraga Region, Northeastern Mindanao. Established in 1994, the Tao Foundation is led by an all-fe-male Board composed of Filipino scholars, artists, and Indigenous community leaders engaged in cultural regeneration initiatives in response to the five centuries of colonial and neocolonial histories and the need to help build strong cultural communities. The Tao Foundation’s mission is to (1) facilitate the exchange, transmission, and development of Philippine ICH/TCH; and to (2) contribute to the empowerment of culture bearers or those who possess ancestral practical and theoretical knowledges that have endured and transformed to remain relevant through colonial and neocolonial histories as a result of day-to-day and more large-scale acts of resistance.

Most countries or ethnic groups have a traditional martial art distinct in style and technique. In Myanmar, the traditional martial art is called Thaing, which is used to classify the indigenous martial systems of ancient Myanmar. Myanmar traditional martial arts have been well established for centuries and handed down through generations. The word “Thaing” in translation refers to the act of moving around in a circle, which also means “total fighting.” Thaing is not only an intangible cultural heritage of Myanmar but also a technique for self-defense, combat, and a traditional sport. More importantly, it is an art that demonstrates a strong nationalistic spirit, bravery, and holistic fitness. As a knowledge system, Thaing is protected and safeguarded by its masters.\n

“ICH and Gender” introduces the mutual relationship between gender norms and ICH and emphasizes that understanding the intimacy between ICH and gender is important for effective ICH safeguarding and gender equality.

The Vietnamese Institute for Musicology and the Binh Dinh Department of Culture, Sports and Tourism have jointly organized Bai choi Folk Art of Vietnam and Similar Art Forms around the World, an international conference held on 13 and 14 January 2015 in Qui Nhon City, Binh Dinh Province, Vietnam.