In the culture of Mongolians, some of the bones of the animals are used and respected in the worship, ritual and traditional games. The anklebone of animals is one of these respected bones. Since Mongols have domesticated the livestock animals, they have created the culture of the anklebone as well. There are about 120 variations of anklebone games, such as “Horse race”, “Milking mare”, “Catching anklebones”, “Anklebone guessing”, “Flick anklebones”, “Throwing a khomboroo”, “Set four difficult”, “Birth of Camel”, “Multicoloured turtle”, “Anklebone shooting”, and so on. Playing games with anklebone is helpful to the nurture of children, and it gives them a chance to check their speed and sight, and let them recognize the appearance, age and sex of animal, and to learn the insight to love and protect animals, and to develop their language and mentality. Additionally, this game has an effective influence to the growth of creative and nurtured person through mother language, folk literature and folklore.

In the culture of Mongolians, some of the bones of the animals are used and respected in the worship, ritual and traditional games. The anklebone of animals is one of these respected bones. Since Mongols have domesticated the livestock animals, they have created the culture of the anklebone as well. There are about 120 variations of anklebone games, such as “Horse race”, “Milking mare”, “Catching anklebones”, “Anklebone guessing”, “Flick anklebones”, “Throwing a khomboroo”, “Set four difficult”, “Birth of Camel”, “Multicoloured turtle”, “Anklebone shooting”, and so on. Playing games with anklebone is helpful to the nurture of children, and it gives them a chance to check their speed and sight, and let them recognize the appearance, age and sex of animal, and to learn the insight to love and protect animals, and to develop their language and mentality. Additionally, this game has an effective influence to the growth of creative and nurtured person through mother language, folk literature and folklore.

Kesiamel Osmoxylon trunctum tree bear bright orange flowers which is used as part of headdress decoration for a young woman, the mlechell, going through the first birth ceremony. The headdress and body ornaments are very important part of the first birth ceremony. The headdress can consist of many flowers, plants, turtle shell, and bird feathers which has association to the mlechell's clan.

Mongolian traditional games in Shagai or anklebone of sheep. There are four positions of anklebone each of which has its own name: horse, sheep, goat and camel. Mongols have about 100 variations of anklebone games. For example, there are “Horse race”, “Catching anklebones”, “Anklebone guessing” “Flicking anklebones”, “Multicolored turtle”, “Anklebone shooting” and etc. Mostly children play these games, but sometimes adults are also involved in them. Among games in Shagai most popular is anklebone shooting.

Today, the fishing technology used in Qoma Island Fiji is a combination of traditional and modern methods. The importance of this technology cannot be over stated as life of the community rests on fishing. \nQoma Island villagers are now weaving turtle fishnet using nylon and twine, replacing the traditional coconut sinnet. \nThe net has changed its form however villagers rely heavily on traditional knowledge to guide them in their fishing expedition.

This is photo of some of the artefacts including the back of the turtle that are stored in the Museum in Tarawa

Hat boi Folk Opera in Binh Dinh Province, listed in the National ICH List in 2014 \nThe Art of Tuong in Quang Nam, listed in the National ICH List in 2015 \nTuong is a traditional classical play based on Vietnamese folk songs, dances, and music, and is also called hat bo, or hat boi. The central themes of Tuong include individual sacrifice for a greater cause, imparting lessons about human behavior, and featuring heroic characters. These themes are portrayed aesthetically throughout the performances. It was performed as entertainment for the king and his \nmen at royal banquets or court ceremonies. Today, state-run theater groups perform in established theaters, and folk theater groups perform for village communities during festivals. In Tuong, the face of each character is painted carefully before the performance. The colors used are mainly white, red, blue or green, and black. The colors and patterns used on the faces have symbolic meanings and representations: a white face symbolizes gentleness and quietness; red stands for wisdom, courage, and staunchness; a striped face signifies an ugly person with a hot temper. Decorating the corners of the nose with a cloud-shaped line is necessary for the role of a king.\n\nMiniature statue of tướng male character Tạ Ôn Đình\nTướng motif\nTướng motif is the character type that inherit some traits on manners, actions, and choreography of kép that is brawny in type: Assertive, swift, powerful singing-dialogues delivery.\nHowever, the significant detail to pay attention to is their makeup being made as mask-like, which they are diverse with various stylised expressions. Depends on their role in the play,\nwe have protagonist tướng (the tướng that belongs in the good side and loyal) such as Trịnh Ân, Hoàng Phi Hổ, etc; and villain tướng (the tướng that are evil and vindictive), Ô Lợi Hắc.\nThe motif can also be deeper understood in its level 2 of formation- major tướng and minor tướng. Major tướng includes the traits that are mentioned above,\nwith social standing and hold a crucial role in the plot. Minor tướng, on the contrary, are characters that don't hold crucial position in the script like Châu Thương,) Tiết Quỳ, etc.\n\nMiniature statue of đào female character Phàn Phụng Cơ\nĐào văn\nIntellectual đào: Has the general traits of đào motif, elegant and graceful manners; innocent singing and dialogues. In which there is “royal đào" being the type of character that participates in official royal affairs. Example: Tạ Nguyệt Kiều. And then “simple đào/hairpin đào” is a peasant character type, or the character that has a prestige origin but fallen into peasantry; she wouldn't have any fancy headwear but only a simple hair pin. Example: Điều Huê Nữ.\n\nMiniature statue of lão elderly male character Vương Doãn\n“Lão” is a term to describe male characters (kép) that are elderly. With their brows and hair are white and gray; unhurried in movements; and a raspy singing-dialogue delivery. Additionally, there are also different techniques to portray their raspy voice delivery that can be categorised as follow:\nINTELLECTUAL LÃO\nInclude full characteristics of lão motif: white face, gray beard with three/five long smooth branches; educated and sophisticated.\nExample: Vương Doãn (the play “Phụng Nghi pavillon”); Kiều Quốc cựu (the play “The Beauty from Giang Đông region”); etc.\n\nMiniature statue of mụ female character Đồng Mẫu\nMỤ MOTIF\n“Mụ” is the type of female character (đào) that is elderly, their makeup tends to be light, with white eyebrows, silver hair, slow in movement; raspy singing-dialogues delivery. The majority of mụ motif are intellectual type, with a gentle and considerate manner. Example: Đổng mẫu (the play “San Hậu”); Dương linh bà (the play “Mộc Quế Anh offers the wood”) despite her origin as a fiery general but often expressed as a prestige and sophisticated woman.\n\nMiniature statue of tướng male character Đổng Trác\nĐổng Trác is a villain, portraited in nịnh motif. \n\nMiniature statue of kép male character Lữ Bố\n“Kép” is a term to describe male characters. Their appearances tend to be young or middle aged male, with a light makeup face (using beard to distinguish). This is a simple makeup style, reserved for characters that are handsome, or ordinary; they tend to be the psychological character that doesn’t need dramatic makeup to express their personality. Following the kép motif is the type of singing technique- with graceful and sophisticated dialogues. The common characters from kép motif (or can be called “kép in white”) are Tiết Đinh San, Tiết Ứng Luông (the play “The Goddess that offers Ngũ Linh flag”) Bá Ấp Khảo (the play “Bá Ấp Khảo”); etc.\n\nMiniature statue of đào female character Chung Vô Diệm\nĐÀO motif\n“Đào" is a term to describe female characters. Their appearances tend to be young or middle-aged females, where their makeup tends to be light and their presences are elegant, with innocent singing-dialogue delivery. In đào motif, only the character Chung Vô Diệm, Đào Tam Xuân, and Ngọc Kỳ Lân have their makeup as mask-like, the rest of them all have light makeup face. \nĐào võ\nBrawny đào: Possess full traits of đào motif, however she is assertive and stern; powerful singing-dialogue delivery. Example: Thần Nữ; Đoàn Hồng Ngọc; etc. Additionally, the mentioned characters that have mask-like makeup (Chung Vô Diệm, Đào Tam Xuân, Ngọc Kỳ Lân) are a part of brawny đào motif. They are portrayed in a dramatic style to reflect their strong personality and extraordinary talent.\n\nMiniature statue of kép male character Phàn Diệm\nKÉP WITH ANGRY EYES\nIs a kép motif that has more than just the general traits, but also a more extravagant styling in costuming. They have a red face makeup base; with a white eyes and dramatic eyebrows that are high up to the temple. This dramatic appearance only reflects their extraordinary characters for a teenage boy. Namely characters like Phàn Diệm (the play “San Hậu”); or the character Trịnh n (the play “Sentencing Trịnh n”) that is also a part of kép with angry eyes, but he would have a face makeup colour base in ashy gray or black. This genre of kép with angry eyes, or can be called as “young kép” is often paired with an older character (could be their father- like the characters Phàn Định Công, Trịnh n), their extraordinary appearance foreshadowing the talents that would emerge once they are matured.\n\nMiniature statue of kép male character Đổng Kim Lân\nKÉP IN RED\nIs a character motif that is based on the characteristics of kép motif (kép in white), however, the base makeup colour of the character tends to be in bright red or reddish pink. This is the character type that is loyal and determined in hát bội aesthetic. Example: Quan Vũ (the play “Battle at Phàn fortress”); Đổng Kim Lân (the play “San Hậu”); Cao Hoài Đức (the play “Sentencing Trịnh Ân”), etc.\n\nMiniature statue of yêu đạo turtle master character Dư Hồng\nYêu đạo motif\nSimilar like tướng motif, yêu đạo motif has a distinctive dramatic element of hát bội. However, yêu đạo tends to be portrayed as villain characters, in which they possess opposite traits from the protagonist, power abuser, with a sense of justice according to feudal law. Moreover, these characters tend to start off with non-human origins, they’ve honed their magical ability to become human so it made their manners appear animalistic. The character makeups are also suggestive of the manners and symbolism of their background. Examples such as Dư Hồng is originally a red bird that trained itself into human form so the eye makeup mimics a bird motif, with a red face makeup base. The design of yêu đạo/ turtle master tends to use weirdly big eyes to express an eerie manner, big tummy to indicate magic (or it could be called bụng phép), with costume similar to the Taoist monks.\n\nMiniature statue of lão elderly male character Phàn Định Công\nBRAWNY LÃO\nIn appearance, they also shared similarities like the lão motif. If there’s a difference, then it’d be their face makeup base coloured in red. The difference between intellectual lão and brawny lão- their performance manners. Brawny lão would have more decisive and assertive movements, and a more powerful singing-dialogue delivery.\nSAGGY LÃO\nSimilar to kép with angry eyes motif in kép motif, saggy lão motif is a lão motif that exceeds the usual characteristics and is portrayed in a dramatic styling. With a red face, a white under eye that extends to the cheeks, white beard; hot-headed and decisive. Example: Phàn Định Công (the play “San Hậu”); Trình Giảo Kim (the play “Phàn Lê Huê conquer the Hồng Thủy battle”); etc.\n\nMiniature statue of kép male character Khương Linh Tá\nKÉP IN GREEN / FOREST KÉP / MOUNTAIN KÉP\nTheir face makeup tends to be in faded gray or green; with high eyes and brows (depends on the traditional character design of the region and the troup). This character type tends to have a peasantry manner, down-to-earth, with the colour palette of faded gray and green to indicate a humbling origin as a farming man. Example: Khương Linh Tá (the play “San Hậu”); Châu Sáng (the play “Losing Nam Dương fortress”); etc.\n\nMiniature statue of nịnh male character Tạ Lôi Nhược\nThe motif can also be deeper understood in its level 2 of formation- major tướng and minor tướng. Major tướng includes the traits that are mentioned above, with social standing and hold a crucial role in the plot. Minor tướng, on the contrary, are characters that don’t hold crucial position in the script like Châu Thương (the play “Battle at Phàn fortress”) Tiết Quỳ (The play “Tiết Giao steals the pearl”), etc.\nTạ Lôi Nhược is a minor tướng character, in combination of feeble nịnh character.

Hat boi Folk Opera in Binh Dinh Province, listed in the National ICH List in 2014 \nThe Art of Tuong in Quang Nam, listed in the National ICH List in 2015 \nTuong is a traditional classical play based on Vietnamese folk songs, dances, and music, and is also called hat bo, or hat boi. The central themes of Tuong include individual sacrifice for a greater cause, imparting lessons about human behavior, and featuring heroic characters. These themes are portrayed aesthetically throughout the performances. It was performed as entertainment for the king and his \nmen at royal banquets or court ceremonies. Today, state-run theater groups perform in established theaters, and folk theater groups perform for village communities during festivals. In Tuong, the face of each character is painted carefully before the performance. The colors used are mainly white, red, blue or green, and black. The colors and patterns used on the faces have symbolic meanings and representations: a white face symbolizes gentleness and quietness; red stands for wisdom, courage, and staunchness; a striped face signifies an ugly person with a hot temper. Decorating the corners of the nose with a cloud-shaped line is necessary for the role of a king.\n\nMiniature statue of tướng male character Tạ Ôn Đình\nTướng motif\nTướng motif is the character type that inherit some traits on manners, actions, and choreography of kép that is brawny in type: Assertive, swift, powerful singing-dialogues delivery.\nHowever, the significant detail to pay attention to is their makeup being made as mask-like, which they are diverse with various stylised expressions. Depends on their role in the play,\nwe have protagonist tướng (the tướng that belongs in the good side and loyal) such as Trịnh Ân, Hoàng Phi Hổ, etc; and villain tướng (the tướng that are evil and vindictive), Ô Lợi Hắc.\nThe motif can also be deeper understood in its level 2 of formation- major tướng and minor tướng. Major tướng includes the traits that are mentioned above,\nwith social standing and hold a crucial role in the plot. Minor tướng, on the contrary, are characters that don't hold crucial position in the script like Châu Thương,) Tiết Quỳ, etc.\n\nMiniature statue of đào female character Phàn Phụng Cơ\nĐào văn\nIntellectual đào: Has the general traits of đào motif, elegant and graceful manners; innocent singing and dialogues. In which there is “royal đào" being the type of character that participates in official royal affairs. Example: Tạ Nguyệt Kiều. And then “simple đào/hairpin đào” is a peasant character type, or the character that has a prestige origin but fallen into peasantry; she wouldn't have any fancy headwear but only a simple hair pin. Example: Điều Huê Nữ.\n\nMiniature statue of lão elderly male character Vương Doãn\n“Lão” is a term to describe male characters (kép) that are elderly. With their brows and hair are white and gray; unhurried in movements; and a raspy singing-dialogue delivery. Additionally, there are also different techniques to portray their raspy voice delivery that can be categorised as follow:\nINTELLECTUAL LÃO\nInclude full characteristics of lão motif: white face, gray beard with three/five long smooth branches; educated and sophisticated.\nExample: Vương Doãn (the play “Phụng Nghi pavillon”); Kiều Quốc cựu (the play “The Beauty from Giang Đông region”); etc.\n\nMiniature statue of mụ female character Đồng Mẫu\nMỤ MOTIF\n“Mụ” is the type of female character (đào) that is elderly, their makeup tends to be light, with white eyebrows, silver hair, slow in movement; raspy singing-dialogues delivery. The majority of mụ motif are intellectual type, with a gentle and considerate manner. Example: Đổng mẫu (the play “San Hậu”); Dương linh bà (the play “Mộc Quế Anh offers the wood”) despite her origin as a fiery general but often expressed as a prestige and sophisticated woman.\n\nMiniature statue of tướng male character Đổng Trác\nĐổng Trác is a villain, portraited in nịnh motif. \n\nMiniature statue of kép male character Lữ Bố\n“Kép” is a term to describe male characters. Their appearances tend to be young or middle aged male, with a light makeup face (using beard to distinguish). This is a simple makeup style, reserved for characters that are handsome, or ordinary; they tend to be the psychological character that doesn’t need dramatic makeup to express their personality. Following the kép motif is the type of singing technique- with graceful and sophisticated dialogues. The common characters from kép motif (or can be called “kép in white”) are Tiết Đinh San, Tiết Ứng Luông (the play “The Goddess that offers Ngũ Linh flag”) Bá Ấp Khảo (the play “Bá Ấp Khảo”); etc.\n\nMiniature statue of đào female character Chung Vô Diệm\nĐÀO motif\n“Đào" is a term to describe female characters. Their appearances tend to be young or middle-aged females, where their makeup tends to be light and their presences are elegant, with innocent singing-dialogue delivery. In đào motif, only the character Chung Vô Diệm, Đào Tam Xuân, and Ngọc Kỳ Lân have their makeup as mask-like, the rest of them all have light makeup face. \nĐào võ\nBrawny đào: Possess full traits of đào motif, however she is assertive and stern; powerful singing-dialogue delivery. Example: Thần Nữ; Đoàn Hồng Ngọc; etc. Additionally, the mentioned characters that have mask-like makeup (Chung Vô Diệm, Đào Tam Xuân, Ngọc Kỳ Lân) are a part of brawny đào motif. They are portrayed in a dramatic style to reflect their strong personality and extraordinary talent.\n\nMiniature statue of kép male character Phàn Diệm\nKÉP WITH ANGRY EYES\nIs a kép motif that has more than just the general traits, but also a more extravagant styling in costuming. They have a red face makeup base; with a white eyes and dramatic eyebrows that are high up to the temple. This dramatic appearance only reflects their extraordinary characters for a teenage boy. Namely characters like Phàn Diệm (the play “San Hậu”); or the character Trịnh n (the play “Sentencing Trịnh n”) that is also a part of kép with angry eyes, but he would have a face makeup colour base in ashy gray or black. This genre of kép with angry eyes, or can be called as “young kép” is often paired with an older character (could be their father- like the characters Phàn Định Công, Trịnh n), their extraordinary appearance foreshadowing the talents that would emerge once they are matured.\n\nMiniature statue of kép male character Đổng Kim Lân\nKÉP IN RED\nIs a character motif that is based on the characteristics of kép motif (kép in white), however, the base makeup colour of the character tends to be in bright red or reddish pink. This is the character type that is loyal and determined in hát bội aesthetic. Example: Quan Vũ (the play “Battle at Phàn fortress”); Đổng Kim Lân (the play “San Hậu”); Cao Hoài Đức (the play “Sentencing Trịnh Ân”), etc.\n\nMiniature statue of yêu đạo turtle master character Dư Hồng\nYêu đạo motif\nSimilar like tướng motif, yêu đạo motif has a distinctive dramatic element of hát bội. However, yêu đạo tends to be portrayed as villain characters, in which they possess opposite traits from the protagonist, power abuser, with a sense of justice according to feudal law. Moreover, these characters tend to start off with non-human origins, they’ve honed their magical ability to become human so it made their manners appear animalistic. The character makeups are also suggestive of the manners and symbolism of their background. Examples such as Dư Hồng is originally a red bird that trained itself into human form so the eye makeup mimics a bird motif, with a red face makeup base. The design of yêu đạo/ turtle master tends to use weirdly big eyes to express an eerie manner, big tummy to indicate magic (or it could be called bụng phép), with costume similar to the Taoist monks.\n\nMiniature statue of lão elderly male character Phàn Định Công\nBRAWNY LÃO\nIn appearance, they also shared similarities like the lão motif. If there’s a difference, then it’d be their face makeup base coloured in red. The difference between intellectual lão and brawny lão- their performance manners. Brawny lão would have more decisive and assertive movements, and a more powerful singing-dialogue delivery.\nSAGGY LÃO\nSimilar to kép with angry eyes motif in kép motif, saggy lão motif is a lão motif that exceeds the usual characteristics and is portrayed in a dramatic styling. With a red face, a white under eye that extends to the cheeks, white beard; hot-headed and decisive. Example: Phàn Định Công (the play “San Hậu”); Trình Giảo Kim (the play “Phàn Lê Huê conquer the Hồng Thủy battle”); etc.\n\nMiniature statue of kép male character Khương Linh Tá\nKÉP IN GREEN / FOREST KÉP / MOUNTAIN KÉP\nTheir face makeup tends to be in faded gray or green; with high eyes and brows (depends on the traditional character design of the region and the troup). This character type tends to have a peasantry manner, down-to-earth, with the colour palette of faded gray and green to indicate a humbling origin as a farming man. Example: Khương Linh Tá (the play “San Hậu”); Châu Sáng (the play “Losing Nam Dương fortress”); etc.\n\nMiniature statue of nịnh male character Tạ Lôi Nhược\nThe motif can also be deeper understood in its level 2 of formation- major tướng and minor tướng. Major tướng includes the traits that are mentioned above, with social standing and hold a crucial role in the plot. Minor tướng, on the contrary, are characters that don’t hold crucial position in the script like Châu Thương (the play “Battle at Phàn fortress”) Tiết Quỳ (The play “Tiết Giao steals the pearl”), etc.\nTạ Lôi Nhược is a minor tướng character, in combination of feeble nịnh character.

In the picture, a group of men from Qoma Island cast fishnet into the ocean. \nThe people of Qoma for generations have been traditional fisherfolk for the Ratu mai Verata, the overlord of Verata, an ancient kingdom in today’s Tailevu province. They also serve the Ratu mai Dawasamu and are administratively under the Ratu of Namena with the present system of provincial administration. All come under today’s Tailevu province on eastern mainland Vitilevu.\nThey are renown for their traditional knowledge of fishing in observing the ocean currents, wind direction, the sky, understanding their fishing zones, the seasonal and temporal nature of fishing activities.\nIt is their traditional obligation to present turtle to the chiefs of Verata and Dawasamu. There are established traditional protocols; from catching turtle to its presentation process, its taboos and strict adherence to elders who will be leading the delegation.\n

The fisherfolk of Qoma in the province of Tailevu, given their efficiency and skill at sea have a rich knowledge of fish and their habitat which is couple with a wide array of fishing technique. \nIn weaving Lawasau fishnet, for turtle fishing (qoli vonu), dried hibiscus stalk are fastened to hold the net and serve as an indicator when turtle is trapped, while the opposite side is tied with seashells (uma) as net boarders that will spread under ocean.\nEach end of the net is anchored with large corals (tauso) to avoid drifting of net.

Lawasau (meaning sacred net) is a traditional fishnet for catching turtle, made from coconut sinnet knotted into a mesh approximately 30cm square. \nThis traditional fishnet is owned by the people of Qoma Island, with total land area of approximately 22 hectares, situated on northeast coast of Vitilevu mainland, Fiji. \nThe turtle fishnet is believed to be the extension of the net owner’s morality because it is believed that turtles can only be caught if the ancestral spirits are satisfied with the fishermen’s behavior and are supportive of them. \n

The turtle game is a folk game which used to be performed in South Gyeonggi-do and Chungcheong-do on Aug 15 on lunar calendar during chuseok. The Icheon turtle game is seen as a highly valuable resource as a traditional Korean game as its procedure and tools utilized have been well preserved.