Materials
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ICH Materials 622
Publications(Article)
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Small Epics as an Important Element of Oral Epic Creativitiy of the Kyrgyz PeopleThe rich folklore of the Kyrgyz people is an important historical and cultural phenomenon developing over many centuries and spiritually and artistically valuable. As an inexhaustible source of people’s wisdom, it reflects the history, life and social, political and spiritual ideals of the people. The oral folklore is the basis of our unique cultural heritage. Due to the harsh conditions of the nomadic life, endless clashes with enemies and invaders, and long distances of migration, the Kyrgyz people have not preserved their spiritual culture in the stone monuments of architecture, papyrus or clay writings but have preserved it in their memory for more than two thousand years of history. Memory proved to be good enough for keeping millions of lines of epic songs and works, which have been passed from generation to generation and reached the present day.Year2015NationSouth Korea
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Lintas Nusantara: Dance Forms from the Malay WorldSingapore’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 CentreYear2021NationMalaysia
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A Participatory Digital Campaign for ICH: Singapore’s Thaipusam ProjectUnder Our SG Heritage Plan, Singapore has been stepping up its efforts to strengthen research and documentation of its ICH, increase community participation in such research and documentation work, and leverage new technologies to promote ICH and increase both public awareness and appreciation of Singapore’s ICH elements.\n\nAs part of these efforts, the National Heritage Board of Singapore (NHB) has partnered with source communities and use new technologies for safeguarding ICH. One such recent partnership is “A Journey of Devotion—Celebrating Thaipusam in Singapore,” where the NHB partnered the Hindu Endowments Board and Indian temples to document the festival of Thaipusam and produce digital resources related to the festival.\n\nAbout Thaipusam\n\nThaipusam is an important festival among Singapore’s Tamil Hindu community, and it is celebrated every year on the full-moon day of the Tamil month of Thai. For many believers, Thaipusam is a time of devotion, sacrifice, and thanksgiving dedicated to the Hindu god Lord Murugan, who symbolizes bravery, power and virtue.\n\nThe festival commemorates Lord Murugan’s victory over evil forces, and one of the most recognizable elements of Thaipusam is the ceremonial procession of the kavadi-bearers—men who walk carrying large metal structures known as kavadi that are fixed with spikes or hooks that pierce their bodies.\n\nDuring Thaipusam, kavadi-bearers and their supporters walk along a designated route, which starts at Sri Srinivasa Perumal Temple on Serangoon Road, and ends at Sri Thendayuthapani Temple on Tank Road. These kavadi-bearers walk barefooted along this route while other worshippers carry offerings such as paalkudams or milk pots, fruit, and flowers.\n\nLive music forms a key part of the Thaipusam procession, and hymns are often sung by friends and family while religious songs (known as bhajans) are also performed by groups of musicians who follow the kavadi-bearers to boost their spirits as they make their arduous journey from temple to temple.\n\nAlong the route, there will also be community volunteers at various thaneer panthal or water points, and these volunteers will pour water onto the feet of kavadi-bearers to provide much-needed relief from walking barefoot on the hot tarmac and to offer food and water to the rest of the community.\n\nA Digital Campaign Journey\nWhen conceptualizing the campaign, NHB sought feedback from a younger audience (18–35 years old) and noted that most youths did not understand Thaipusam—what it represents and its associated practices. To better engage this younger and more digitally savvy audience, NHB put together a digital engagement plan to create content that would be engaging, informative, and participatory.\n\nThe title “A Journey of Devotion” was chosen with reference to two aspects of Thaipusam. First, it refers to the physical journey as devotees walk along their route. Second, it also refers to the personal journey devotees take upon themselves in the lead-up to Thaipusam, which includes making their own kavadis and adopting fasting practices that include consuming only vegetarian meals for up to forty-eight days.\n\nUnder Our SG Heritage Plan, Singapore has been stepping up its efforts to strengthen research and documentation of its ICH, increase community participation in such research and documentation work, and leverage new technologies to promote ICH and increase both public awareness and appreciation of Singapore’s ICH elements.\n\nAs part of these efforts, the National Heritage Board of Singapore (NHB) has partnered with source communities and use new technologies for safeguarding ICH. One such recent partnership is “A Journey of Devotion—Celebrating Thaipusam in Singapore,” where the NHB partnered the Hindu Endowments Board and Indian temples to document the festival of Thaipusam and produce digital resources related to the festival.\n\nAbout Thaipusam\nThaipusam is an important festival among Singapore’s Tamil Hindu community, and it is celebrated every year on the full-moon day of the Tamil month of Thai. For many believers, Thaipusam is a time of devotion, sacrifice, and thanksgiving dedicated to the Hindu god Lord Murugan, who symbolizes bravery, power and virtue.\n\nThe festival commemorates Lord Murugan’s victory over evil forces, and one of the most recognizable elements of Thaipusam is the ceremonial procession of the kavadi-bearers—men who walk carrying large metal structures known as kavadi that are fixed with spikes or hooks that pierce their bodies.\n\nDuring Thaipusam, kavadi-bearers and their supporters walk along a designated route, which starts at Sri Srinivasa Perumal Temple on Serangoon Road, and ends at Sri Thendayuthapani Temple on Tank Road. These kavadi-bearers walk barefooted along this route while other worshippers carry offerings such as paalkudams or milk pots, fruit, and flowers.\n\nLive music forms a key part of the Thaipusam procession, and hymns are often sung by friends and family while religious songs (known as bhajans) are also performed by groups of musicians who follow the kavadi-bearers to boost their spirits as they make their arduous journey from temple to temple.\n\nAlong the route, there will also be community volunteers at various thaneer panthal or water points, and these volunteers will pour water onto the feet of kavadi-bearers to provide much-needed relief from walking barefoot on the hot tarmac and to offer food and water to the rest of the community.\n\nA kavadi-bearer being cheered on by friends and family near the Sri Thendayuthapani Temple © National Heritage Board, Singapore\n\nA Digital Campaign Journey\nWhen conceptualizing the campaign, NHB sought feedback from a younger audience (18–35 years old) and noted that most youths did not understand Thaipusam—what it represents and its associated practices. To better engage this younger and more digitally savvy audience, NHB put together a digital engagement plan to create content that would be engaging, informative, and participatory.\n\nThe title “A Journey of Devotion” was chosen with reference to two aspects of Thaipusam. First, it refers to the physical journey as devotees walk along their route. Second, it also refers to the personal journey devotees take upon themselves in the lead-up to Thaipusam, which includes making their own kavadis and adopting fasting practices that include consuming only vegetarian meals for up to forty-eight days.\n\nFor the campaign, NHB decided to focus on telling the story of the festival through the perspective of four practitioners: a kavadi-bearer, a piercer, a musician, and a water point volunteer. By focusing on these individuals, NHB hopes to make the content more relatable to the audience. The video interviews were then uploaded on NHB’s Facebook and Instagram platforms, and to date, have attracted more than 650,000 views.\n\nNHB also noted that Thaipusam has always been a vibrant and colorful festival that attracts photographers every year. As a result and as part of NHB’s efforts to increase community participation in ICH documentation, NHB created the hashtag #Thaipusamsg on Instagram to encourage community photo contributions. This has resulted in the collection of a wide array of photographs.\n\nFinally, NHB created a comprehensive NHB’s webpage at https://www.roots.sg/thaipusam, which includes photographs, a brief history of the festival, and how it was brought into Singapore by early migrants as well as relevant artifacts in the National Collection that are associated with the festival, such as the kavadi from the collection of the Asian Civilizations Museum and photographs of the festival from the early twentieth century from the collection of the National Museum of Singapore.\n\nMoving forward, NHB will be developing and implementing similar digital campaigns to document and promote other ICH festivals and practices from other communities such as the upcoming campaign on Ramadan, a month-long fasting period observed by Muslims in Singapore in the lead up to Hari Raya Puasa, also known as the Day of Celebration.\n\nPhoto 1 : Singapore’s digital campaign to engage the Indian community and educate the public about the practices associated with Thaipusam © National Heritage Board, Singapore\nPhoto 2 : A kavadi-bearer being cheered on by friends and family near the Sri Thendayuthapani Temple © National Heritage Board, SingaporeYear2020NationSingapore
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Community Empowerment through Promoting Intangible Cultural HeritageNagorik Uddyog (NU) was founded in 1995 by a group of nationally and internationally renowned Bangladeshi human rights activists and academics aiming to promote good gover- nance, access to justice, and the institutionalization of democracy at the local and national level. In the beginning, the organization worked on voter education programs and raised awareness among women that they could claim their rights from local government institutions and from the community. In this awareness-raising initiative, community cultural heritage properties like the Baul folk songs were used and earned immense popularity. Over a period of time, NU extended its activities across the country with specific focus on the rights of marginalized people, especially Dalit rights, land and human rights of Indigenous peoples, and access to justice for rural communities.Year2018NationSouth Korea
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3.5. Showcasing Traditional Lifestyle in Rajasthan's Desert MuseumRupayan Sansthan was founded in 1960 by the renowned folklorist and ethnomusicologist writer and Padma Bhushan recipient Komal Kothari and his very close friend, Padmashree recipient Vijaydan Detha, an eminent Rajasthani writer. Their research encompassed folk songs, folk tales, folk beliefs, proverbs, folk ballads, folk epics, folk gods and goddesses, social practices, rituals, fairs and festivals, rural food, nomads and pastoral ways of life. Rupayan’s archive houses have one of the richest collections of folkloristic materials.Year2017NationIndia
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Jultagi (Tightrope walking), the Performing Arts of Communication and HarmonyIn 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/Year2022NationSouth Korea
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Singapore Launches Street Corner Showcases for Traditional TradesSingapore launched its Street Corner Heritage Galleries scheme for traditional trades on 7 March 2020. The new scheme will involve the National Heritage Board of Singapore (NHB) collaborating with qualifying local traditional trades and businesses with significant history in selected precincts to co-curate “street corner heritage galleries” that will showcase the history of their respective shops, trades, and products as well as other intangible cultural heritage (ICH) elements through displays of historical documents, photographs, and artefacts.\n\nUnder the scheme, NHB will also provide training to owners of these traditional trades and businesses in the areas such as the development and delivery of heritage programs. NHB will also provide funding support to these street corner heritage galleries to encourage them to develop heritage programs and to participate in NHB’s signature events such as Singapore Heritage Festival, CultureFests, etc. as showcases of Singapore’s living heritage.\n\nAccording to Mr. Alvin Tan, Deputy Chief Executive (Policy & Community) of NHB: “Through the scheme, we hope to identify existing heritage resources and perform ‘urban acupuncture’ by introducing small-scale interventions to showcase these resources and in the process, revitalize the precinct through street-level heritage.”\n\nThe scheme is aligned with NHB’s five-year masterplan, Our SG Heritage Plan, which seeks to showcase heritage in everyday places to encourage greater public awareness and appreciation of heritage in our midst. NHB will be piloting the scheme with the traditional trades and businesses within the Balestier precinct, and they include a traditional pastry shop, a traditional bakery, a traditional coffee powder shop and more.\n\nFollowing its launch, NHB will be identifying other traditional trades and businesses and partnering with the relevant community stakeholders to roll out the scheme on a precinct-by-precinct basis starting with Balestier and Kampong Gelam in 2020 followed by Little India and Chinatown in 2021, and finally Geylang Serai in 2022. Overall, NHB hopes to co-create a total of twenty-five street corner heritage galleries with traditional trades and businesses across the different precincts.\n\nThrough the Street Corner Heritage Galleries scheme, NHB hopes to facilitate stronger stakeholder participation and ownership of different aspects of Singapore’s heritage; equip traditional trades and businesses with the necessary basic competencies in the areas of heritage documentation, promotion, and conservation; activate public spaces through a stakeholder-centric and participatory approach; and create a network of community-championed “mini heritage galleries” in different parts of Singapore.\n\nPhoto 1 : The owners and staff of Loong Fatt, the oldest surviving traditional coffee shop in Balestier known for its signature traditional flaky pastry filled with green bean paste, standing around the shop’s street corner heritage gallery © National Heritage Board, Singapore\nPhoto 2 : The owners of Loy Kee, a shop selling traditional Hainanese chicken rice in the Balestier area since 1953, standing next to their street corner heritage gallery © National Heritage Board, SingaporeYear2020NationSingapore
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Singapore’s Hungry Ghost FestivalThe seventh month of the lunar calendar is regarded as a month in which the gates of heaven and hell are opened so that ghosts and spirits, including deceased ancestors, can come back to visit the living in China and other Asian countries with Chinese migrants, such as Singapore, Taiwan, Hong Kong, Malaysia, and Indonesia. The fifteenth day of the month is called Zhongyuan Jie (中元節) in China, Baekjung (百中) in Korea, Obon (お盆) in Japan, and the Hungry Ghost Festival in other countries. The day’s story origin derives from an old Buddhist tale about Mu Lian.1.\nMu Lian, one of Buddha’s disciples, converted to Buddhism after losing his parents at a young age. As his longing for his mother grew stronger, his clairvoyance found her suffering from ravenous appetites that could not be satisfied in hell. He tried to offer food to his mother, but the food burned into ashes when it touched her mouth. Mu Lian asked Buddha about how he could relieve his mother’s suffering. When he prepared food offerings as directed by Buddha, his mother was saved from suffering. This tale developed into a Buddhist ritual2. to offer food for ancestors and was combined with Taoist tradition to celebrate Zhongyuan Jie. At Zhongyuan Jie, people hold memorial services for ancestors and other spirits.\n\nIn Singapore, people prepare ritualistic food offerings and burn incense and joss paper in front of their apartments, stores, or companies for their ancestors’ visiting spirits. They murmur prayers while burning joss paper and go round in a circle with nobody else getting inside. Some even burn miniature paper houses, cars, and smartphones. Unlike most countries that hold traditional rites, the city-state celebrates Zhongyuan Jie in a more modern way. A getai3. is held at vacant lots or parking lots during the Ghost Festival. Getai performances were usually of Chinese operas or puppet shows in the past. Now they have evolved into various forms, including songs, dances, and stand-up comedy. A getai performance usually begins with jokes and comedy, using various languages such as Mandarin, Hokkien (a Southern Min Chinese dialect originating from Fujian Province), English, Malay, and Indian. The first row is left empty so that the spirits can sit and enjoy the performance comfortably. Although getai performances have been modernized, all the songs and dances serve the same purpose of consoling dead souls and pleasing the king of the underworld.\n\nDuring the festival, evil spirits come out with ancestral spirits. There are taboos to protect innocent people from evil spirits, such as going home late and swimming so as not to be pulled by water ghosts. People are also recommended not doing new things, like a trip, wedding, or risky movements, to avoid curses from evil spirits. They should spend their time in a more religious and controlled way than usual.\n\nSingaporean authorities have made various social and cultural efforts to preserve the Ghost Festival and pass it on to future generations. Singapore’s Taoist and Buddhist Federations have encouraged devotees to burn offerings responsibly as Nanyang Technological University scientists found that concentrations of small pollutant particles increased by 60 percent during the Hungry Ghost Festival, saying that it is not a case of “the more the merrier” since it is sincerity that counts. Singapore has grown based on coexistence and harmony among various peoples. As such, it emphasizes respect for different cultures even when enjoying a festival, highlighting that such celebrations should not be limited to a certain group. Collective efforts at all levels of society have made the Hungry Ghost Festival open to all people in Singapore. This festival provides lessons on how to discuss and resolve social issues and ethnic conflicts amid the progress of globalization.\n\nPhoto : Hungry ghost prayer table CCBYSA3.0 Mezanurrahman (Wikimedia)Year2018NationSingapore
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Cultures in a Cosmopolitan City: Challenges, Changes, and ContinuityThere are various phenomena that pose a risk to living heritage, ranging from demographic issues to economic pressures, as identified by UNESCO (see https://ich.unesco.org/dive/threat/). This article will address three ongoing issues commonly believed to present a considerable challenge to the viability and practice of ICH in highly urbanized cities: limited land area, increasing focus on modern technology, and the COVID-19 pandemic.\nAs a metropolis with a population of 5.45 million across 728 square kilometers, Singapore must keep abreast of developments in modern technology and urbanization, along with the social, cultural, and economic changes they bring. Similarly, as a hub of international travel and business, Singapore had to navigate the waves of change brought about by the COVID-19 pandemic, and its implications on the city-state’s ICH.Year2022NationSingapore
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PRACTICE OF CONSTRUCTING THE MONGOLIAN GERThe ger, a traditional dwelling created by nomadic Mongolians, is specifically designed to fit their way of life. Its semi- sphere shape helps the ger endure storms and tempests. It has solutions for heat control and ventilation. It is flexible in terms of size and design, and it is portable and lightweight. At the same time, it is also comfortable to live in and easy to build and dismantle. Moreover, the ger is used as a measure for time and directions.Year2013NationSouth Korea
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BAKHSHI ART FESTIVAL TO REVIVE SILK ROAD CULTUREA wide range of festivals are held in Uzbekistan to generate public interest in intangible cultural heritage. This includes the recent International Bakhshi Art Festival, which was held for a week from 5 April in the ancient city of Termez. Bakhshi is a multi-genre art form that brings together singers, musicians, and performers of Doston, a Central Asian oral epic. Teams from seventy-five countries took part in this festival, which featured not only a wide range of performances but also an enlightening international conference.Year2019NationSouth Korea
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The Remarkable Revival of Vietnamese Xoan MusicIn just six years, an important element of intangible cultural heritage went from being an element in need of urgent safeguarding to being an active part of the lives of Vietnamese people. The Hat Xoan Phu Tho tradition, a distinctive call-and-response musical genre of Phu Tho Province in northern Vietnam, was inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2011, and as a result it became the focus of an extensive revitalization program to ensure its survival.\n\nA unique blend of song and dance performance, xoan originated in the upland region of Viet Tri in Phu Tho for the people to express the richness of their community lives. Some of the performances are to venerate ancient kings while others are expressions of the people’s skills and artistry or their knowledge of farming, fishing, hunting, weaving, and other rural crafts. xoan is considered the core and essence of the social and cultural identity of the villages of Phu Duc, Kim Dai, Thet, and An Thai.\n\nSince 2011, the state and local communities have been supporting a project to revitalize xoan. A series of creative collaborations between knowledgeable elder practitioners and a nucleus of over sixty younger artists have committed themselves to xoan practice and dissemination and have subsequently secured xoan transmission to future generations. Training classes are held monthly and weekly within the communities. An active set of xoan guilds with as many as a hundred members of three or even four generations of practitioner families are successfully recruiting new adherents.\n\nTo generate an audience for the genre, xoan has been introduced into the regional school curriculum as a reference point for teaching on issues of heritage and local history. Demonstration activities and social events outside the xoan communities, have attracted young people and increased their understanding and enjoyment of xoan.\n\nWithin the xoan communities, many of the temples and shrines used for performances had deteriorated because of war and time, becoming unusable. The state, however, has allocated priority funding to restore these performance areas. Through the government-funded program, community members are fully involved in the restoration and have been empowered to manage their own cultural spaces. On 28 March 2017, the country’s largest site for xoan practice was inaugurated in Kim Duc, a commune of Viet Tri. Legend has it that this space, within the Lai Len temple in Kim Duc, was the first site of xoan performance in Vietnam.\n\nThrough these unique programs, xoan communities have become vibrant places of practice and the transmission of xoan.\n\nPhoto : In marked contrast to the traditional past, Xoan is now widely performed by young practitioners © Le Thi Minh LyYear2017NationViet Nam