Information is considered a safeguarding measure in the 2003 UNESCO Convention. The word ‘information’ is found several times in the text of the 2003 Convention. States Parties are required to provide information regarding programmes of inventory of ICH in their territories1. States Parties to the Convention are required to endeavour, by all appropriate means, to ‘ensure recognition of, respect for, and enhancement of the intangible cultural heritage in society, in particular through: …educational, awareness-raising and information programmes, aimed at the general public, in particular young people’.2 Educational, information, and awareness-raising programmes are herein identified as tools for ensuring the recognition of, respect for, and enhancement of ICH in society to be directed towards the general public, in particularly young people. That the younger generation be able to access information on ICH is essential to ensure ICH transmission for the ongoing safeguarding of ICH. This reference highlights the relation between information programmes and awareness-raising and educational programmes. Obviously awareness raising or educational programmes cannot be carried out without materials based on appropriate information on ICH.

Babad Tanah Jawi (History of Java) evidences the existence of traditional (not religious) beliefs in a goddess of the Southern Ocean called Kanjeng Ratu Kidul since the fifteenth and sixteenth centuries.

Education is very important in relation to ICH, as it is the means by which ICH is transmitted from generation to generation. Education is identified in the 2003 Convention as one of the aspects of safeguarding ICH. Education in relation to ICH may be formal or informal in nature. As stated in the 2003 Convention: Safeguarding means measures aimed at ensuring the viability of the intangible cultural heritage, including the identification, documentation, research, preservation, protection, promotion, enhancement, transmission, particularly through formal and non-formal education, as well as the revitalisation of the various aspects of such heritage1.

The question of how to apply integrated approach in ICH safeguarding is a fundamental issue in implementing the 2003 Convention. It also entails further questions not only for intangible heritage field, but also other relevant cultural heritage fields.\n\nThis session aims to find out the best method of integrated approaches from the viewpoint of ICH safeguarding within the framework of the 2003 Convention. Such aim will require a discussion of the intangible value of tangible heritage and an inquiry of the tangible elements of ICH by looking into various case studies of 'cultural spaces’.\n

"Comprising more than 17,500 islands, 1,300 ethnici- ties, and over 500 vernacular languages, Indonesia is blessed with an incredibly diverse heritage, both nat- ural and cultural, tangible and intangible. However, this also poses a tremendous challenge, particularly when it comes to safeguarding and conserving such a colorful collection of heritage. Badan Pelestarian Pusaka Indonesia (BPPI, the Indonesian Heritage Trust) was founded to answer the challenges of safeguarding Indonesia’s diverse heritage. It is a nonprofit organization comprised of heritage practitioners and advocates who share the common goal of safeguarding the sustainability of Indonesia’s natural, cultural, as well as landscape."

The location of Indonesia is at the junction of the Australian, Eurasian, and Pacific tectonic plates. and Positioned on the ‘ring of fire’ with many active volcanoes as well as its high annual rainfall, Indonesia susceptible to natural disasters such as earthquakes, volcanic eruptions, tsunamis, flooding, landslides, and mudslides.

Traditional music is a form of art capable of determining the survival of the safeguarding of tradition. This is related to the factor of increasing decline of people’s interest in the existence of tradition and increasing advancement of technology, which is considered a sign of modernity. It is as if technological advancement is considered one of the most important needs of the current age, which is then used as a yardstick to measure a person’s ability. Those who have not mastered technology are considered incapable of following the developments of the age, and thus the focus of society is more toward the development of technology. This will surely influence people’s interest in safeguarding the tradition, as the opinion arises that things related to tradition are considered obstacles toward developing technology itself. \n\nThus, technology and tradition are placed as being opposed to one another. On another side, the existence of tradition is often considered something old-fashioned, behind the times, and boring for the younger generation. Even arts practitioners and academics appear to be less interested in researching or doing treatment of new compositions so that the above tradition might become attractive to the younger generation. This article will not discuss all traditional music in Indonesia, but rather will focus on the matter of traditional music of the Dayak ethnic community as one of the original ethnic communities of Kalimantan island.

This research discussed the intangible aspect such as philosophy and local insight that lies in the traditional house of Joglo Pencu Kudus from Indonesia and Hanok from Korea. Based on the result of research found that both traditional houses have the philosophy to respect nature and can adapt to the environment around them. Hanok can adapt to two extreme seasons (harsh winter and humid-hot summer) while Joglo Pencu Kudus can adapt to two seasons (rainy and dry). \nMoreover, the materials used in both traditional houses are natural and originate from the environment. Some constructions support sustainable development and it can be developed or combined further with the recent necessity. Some of its constructions can deal with the earthquake and heavy storm. Even some local insights can be applied directly such as natural waterproof from Hanok and natural substance for the preservation of wooden houses from Joglo Pencu Kudus.

The wide construction of heritage and its symbolic value in the Asia-Pacific region (“wide” in terms of form and content) is made necessary and complex by the intervention of key global organizations such as UNESCO, the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM), the International Council on Monuments and Sites (ICOMOS), the International Council of Museums (ICOM), and the International Union for the Conservation of Nature (IUCN). Recent intervention in addressing the cultural complexity of heritage is the introduction of informal education of intangible cultural heritage. This kind of education, in its simplest form, provides a basic training that has the potential to put intangible cultural heritage to the mainstream public sphere. The Ministry of Foreign Affairs of the Republic of Indonesia initiated this kind of project called Indonesian Arts and Culture Scholarship (IACS) in 2003, focusing on traditional dance and music.\n\nIACS was originally intended for Member States of the South West Pacific Dialogue such as Australia, Indonesia, New Zealand, Papua New Guinea, the Philippines, and Timor-Leste, but has over the years expanded to include Member States of ASEAN+3 and Pacific Islands Forum as well as European countries and the US. In the period of 2003 to 2016, IACS has been awarded to 718 alumni from 63 countries. By appropriating local performance cultures and branding them “traditional,” the program asserts sustainable cultural systems detached from Indonesia’s history of colonialism thereby affirming the importance of indigeneity of ethnic groups as the primary source of diversity and cultural identities in Indonesia.\n\nThe three-month program is offered largely to non-Indonesians whose main qualification is arguably “interest in Indonesian arts and culture.” When selected and grouped, they will be deployed to a participating Indonesian city where they will learn music and traditional performance by practice and immersion. The visibility of non-Indonesians “doing” Indonesian culture reinforces the idea of social inclusion in heritage learning. Considering how scholars of globalization view the world as a global village, the program poignantly paints cultural diplomacy as a viable method of exchange, communication, and, to some extent, multi-layered artistry. Another important element in the program is its laudable effort of moving away from the center or the capital (Jakarta). As the capital is perceived as the main economic zone, most cultural activities carried out there are charged as more valuable than others, inevitably putting other cultural practices in the periphery. Therefore, moving away from the center gives those “other cultural practices” and the communities surviving them the priceless tendency to be appreciated and recognized in wider terms. Art centers also play a crucial role in the program. As they carry the main obligation of deciding what and how IACS participants should learn, the program is implicitly building their capacity to devise an “informal curriculum” for effective learning. Finally, it should be noted that all the participants of IACS are tourists; even when Indonesian citizens are selected as participants, they will still be sent to a city almost always different to them. For effective safeguarding of cultural heritage, Logan and Wijesuriya (2016) fittingly remind, the focus is not “knowledge transfer” to heritage practitioners but “knowledge acquisition” by a wide range of audiences. As the program clearly reflects this proposition, the idea of tourism as a strategic employment of informal heritage education can be organized into an actual and sustainable project in such a way that certain observable outcomes can be achieved.\n\nThis year, citizens of forty-five countries were selected for IACS. And with the expertise of and training from art centers and one university namely Rumata Artspace (Makassar, South Sulawesi), Sanggar Sofiyani (Padang, West Sumatera), Sanggar Semarandana (Denpasar, Bali), Studio Tydif (Surabaya, East Java), and Universitas Pembangunan Nasional “Veteran” (Yogyakarta, East Java), the selected participants gathered together and performed in a big event called Indonesia Channel 2017 on 18 August 2017 at the Empire Palace Building in Surabaya.\n\nReference\nLogan, William, and Gamini Wijesuriya. ‘The New Heritage Studies and Education, Training, and Capacity‐Building’. In A Companion to Heritage Studies, 557-573. William Logan, Máiréad Nic Craith, and Ullrich Kockel, 1st ed. Sussex: Wiley Blackwell, 2016.\n\n*The author thanks Fiska Dali Putri for her time and generosity as a resource.\n\nB.B.P. Hosmillo, 2017 ICHCAP Associate Expert Program Participant (Founder & Co-Editor, Queer Southeast Asia: a literary journal of transgressive art, the Philippines)\n\nPhoto : IACS participants deployed in Makassar © Pepeng Sofyan

Singapore’s Malay Heritage Centre (MHC) organizes Lintas Nusantara, an annual dance festival that serves as a platform for dance masters and troupes from Singapore, Malaysia, Indonesia, and other countries in the region to showcase their work and capabilities and to facilitate cultural exchanges among the countries involved.\n\nTo commemorate the tenth anniversary of the festival, MHC will be launching a publication entitled Lintas Nusantara: A Spectacle of Dance and Music in October 2021. The publication will provide a visual record of all the dances performed at the festival and include several essays that aim to provide a deeper understanding of the various dance forms as well as their origins, development, and evolution.\n\nIt will cover a total of twenty-three Malay dance forms performed in Singapore, different states in Malaysia, and different regions of Indonesia. These dance forms include Zapin Sungai Kallang from Singapore; Mak Yong and Tari Asyik from Malaysia; and Pajaga Makkunrai (Bugis), Tari Golek Menak (Yogyakarta) and Tari Gending Sriwijaya (Palembang) from Indonesia.\n\nAs part of the publication’s aim to foster more extensive research into dances from the Malay Archipelago, it will feature twenty-seven essays by academics and researchers from Singapore, Malaysia, Indonesia, East Timor, and the Philippines. These essays will cover topics such as preserving dance and community traditions; spirituality in dance and movement; forging cultural and community identity through dance; cultural borrowings as expressed through music, costumes, and movements.\n\nLintas Nusantara: A Spectacle of Dance and Music will also include reflections regarding the importance of cultural exchanges in the growth and evolution of dance and music as well as the development of a dynamic Malay dance ecosystem from musicians Thow Xin Wei (Gamelan Singa Nglaras) and Fadhli Ramlee (aluNada Muzik) as well as an interview with Mr. Osman Abdul Hamid, a dance practitioner renowned for his artistic contributions to the Malay dance scene in Singapore since the late 1970s.\n\nThrough this publication, MHC hopes to provide an overview of the wide spectrum of Malay dance forms, contribute to existing research and documentation on Malay performing arts, and promote greater cross-cultural understanding and appreciation of the diverse dance forms from the Malay world.\n\nLintas Nusantara: A Spectacle of Dance and Music is a bilingual publication written in both English and Malay, and interested parties can send their inquiries to Jamal_Mohamad@nhb.gov.sg.\n\nPhoto 1 : Dancers from Guntur Mataram Dance Company (Jakarta) performing the Tari Golek Asmaradana Bawaraga. Photograph courtesy of Malay Heritage Centre\nPhoto 2 : Artist Seni Budaya (Singapore) performing the Tari Gending Sriwijaya with dancers from Universitas PGRI Palembang (Indonesia). Photograph courtesy of Malay Heritage Centre

Karawitan Indonesia High School (SMKI) Yogyakarta or Kasihan State Vocational School 1 (Sekolah Menengah Kejuruan Nasional 1) Kasihan, Bantul, is a high-level vocational school focusing on art. The school, located on Jl. PG Madukismo, Bugisan, Kasihan, Bantul, Yogyakarta, was established in 1961 under the name Konservatori Tari (KONRI), which has a focus on dance conservation and development. The school then was changed into Karawitan Indonesia High School in 1976. In 1997 it became Kasihan State Vocational School 1. The proliferation of non-formal art education through many studios does not dampen the spirit of SMKI as the organizer of formal art education in the Yogyakarta Special Region.