Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Jeju’s harsh environmental features have made the islanders’ lives tough, inspiring respect for the sea. Dongguk Yeoji Seungnam (Augmented Survey of the Geography of Korea) of the Joseon Dynasty records, “As there is the custom of valuing licentious sacrifices, rites are held to honor the gods of forests, ponds, hills, trees and stones.” It can thus be inferred that many religious activities are conducted in Jeju. For Jeju islanders, the Yeongdeunggut rite is of special significance. When the time of Yeongdeung arrives, the rites are held throughout the island to plead for calm seas and abundant sea catches. Of all these rites, the one at the Chilmeoridang Shrine called the Jeju Chilmeoridang Yeongdeunggut is the most important. Its name implies that it is a rite for the goddess of wind only, but it is also a rite to worship village guardian gods and the Dragon King of the sea. While venerated, Yeongdeung also instills fear as she threatens people’s lives by stirring the sea. From early to mid-February when the goddess is present on the island, the sea is particularly turbulent. The islanders believe that as she leaves she removes all the contents of the shellfish. On the day of departure, however, the goddess also sows seeds along the shore to ensure people’s livelihood and the sea is purified to help the growth of the seeds. As such, importance has been attached to the time of her stay and people began to mark the occasion by performing a rite at the Chilmeoridang Shrine in supplication for safety and good sea harvests. Named after the village where it is located, the Chilmeoridang Shrine serves the goddess Yeongdeung and a couple, the Magistrate god and the sea goddess known as the Dragon King's Wife. The couple’s responsibilities are divided between the needs of the local residents (managed by the god) and the livelihood of fishermen and female divers (the domain of the goddess). The Chilmeoridang Shrine is where the Yeongdeung Welcome Rite is held on the 1st day of the second lunar month to mark the arrival of the goddess as well as the Yeongdeung Farewell Rite performed on the 14th. During this period, rituals for the mountain gods (dangje), which are performed in the first lunar month elsewhere in Korea, are carried out in other villages on Jeju Island. Only on Jeju are rituals for the mountain gods and rites for the goddess Yeongdeung combined into one shaman ritual, Yeongdeunggut. Compared to the simple Yeongdeung Welcome Rite, the Yeongdeung Farewell Rite is a sumptuous and more significant event. It is considered one of the most important of the shaman rituals and includes a rite for the Dragon King. The Welcome Rite begins with chogamje, a “calling of the gods” ceremony which involves greeting and inviting the gods to the shrine as well as reciting the participants’ names, followed by pungeoje, a “pleading for a good catch” ceremony, and ends with seoksalrimgut, a gut (shaman ritual) with a three-act play to entertain and appease the ancestral gods. The Farewell Rite also begins with the chogamje ceremony, but it also includes bonhyangdeum, an “entering the Village Shrine” ceremony. This involves asking the God and Goddess Couple to plead for the wellbeing of the village. The ritual includes three village officials offering drinks to the Couple and villagers asking that their wishes be granted. This is followed by chumul gongyeon, an “offering” ceremony in which drinks and rice cakes are offered to all the gods, a yowang maji, a “welcoming the Dragon King” ceremony, which is a special welcome for the Dragon King and the goddess Yeongdeung to ask them to ensure an abundant catch and safety at sea for the fishermen, and then by ssidrim, an “offering of seeds” ceremony in which fortunetelling is done with millet seeds and the sowing of seaweed seeds. Next comes the doaek mageum, “preventing disasters” ceremony that involves the throwing of a rooster to prevent disasters from happening in the village. There is also fortunetelling for the villagers and female divers. This is followed by the yeonggam nori, a play in which the village’s senior men launch a straw boat into the sea. The rite ends with the dosin, “sending the gods back” ceremony. Chilmeoridang Yeongdeunggut began to be widely known in 1980 as simbang (senior shaman) Ahn Sa-in was recognized as Skill Holder. At the time, the waves of modernization had resulted in a negative view of gut as being a dangerous superstition. However, the fishing people of Jeju, along with simbangs, went into deep valleys and sea caves to secretly offer up fervent prayers. Then, the ritual’s designation as an important intangible cultural heritage paved the way for its survival. Determined to revive the rite, Ahn Sa-in established an association with simbangs to safeguard the heritage. Among the founding members are the current Skill Holder Kim Yun-su, adviser Yang Chang-bo, and trainer Goh Sun-An. As Ahn, who had prevented the gut from disappearing on Jeju, passed away in 1990, Kim Yun-su was recognized as the second Skill Holder in 1995. There are currently 40 members. Although the rite is conducted by shamans, its real owners are female divers and ship owners, together called “dangol,” who prepare food for the rite and offer sacrifices to the gods. Starting from their early teens, the divers continue their work of collecting marine delicacies from the ocean floor, so their safety and abundance of the sea are their lifelong wish; and their existence helps maintain the Yeongdeunggut. Sending off the goddess Yeongdeung, the dangol prays: “When you leave, please sow seeds of turban shells, abalones, octopi and sea cucumbers so that we, the people who believe in the sea, can have an abundant sea catch.”

South Korea 2009

Inscribed in 2018 (13.COM) on the Representative List of the Intangible Cultural Heritage of Humanity As one of the popular Korean folk tradtion, ssireum is a type of wrestling in which two players wearing long fabric belts around their waists and one thigh grip their opponents' belt and employ various techniques to send the opponent to the ground. It is played on diverse occasions, including traditional holidays, market days, and festivals. Ssireum games occur on sand in any available space around a neighborhood, and are open to participation by community members of all ages, from children to seniors. The winner in the final game for adults is awarded an ox, which symbolises agricultural abundance, and the title of Jangsa. When the games are over, the Jangsa parades around the neighborhood riding the ox in celebration. The customary practice of providing an ox as a prize is meant to allow the winner to farm more effectively.

South Korea 2018

The music of the sound of paddy pestle is the second oldest arts performance in the state of Perlis. According to history, this arts form originated from Indo-Chinese travelers. To reach the Malay Peninsula they used boats that sail near the beaches, and they lived in the villages. They planted paddy and played the paddy pestles as entertainment during free time. This attracted the interest of the Malay paddy planters to learn it. This arts form is popular and originated from among the paddy planters. They use agricultural equipments to produce unique entertaining sounds. One of the equipments is the mortar and pestle used to pound paddy. The beating of the pestle on the mortar produces a beat nearly the same as that of the gamelan musical instrument. The mortar and pestle are usually made from hard wood. An ensemble of Alu Bunyi has 12 members. They are trained and expert in playing musical instruments. They beat the centre and side parts of the mortar using the pestle accompanied by the sound of clarinet, and this produces a harmonic rythmn. Alu Bunyi is usually performed during harvesting and harvest festivals. Other activities are also held during the festivals like making culinary dishes out of rice. According to some people’s belief, apart from as entertainment this festival is a form of appeasing the spirit of the paddy to go to the farmers’ village and stay in the paddy fields. It is also believed that the paddy spirit will obstruct paddy pests such rats and birds from destroying the farmers’ crop.

Beduan is the oldest performing arts in the state of Perlis, that appeared about 250 years ago during the Siamese reign. This music was introduced by two families that hid at the top of Tuk Wang Gunung Hill to avoid the evil and brutal Siamese soldiers. At the hill top the families felt lonely thus they hit wooden sticks as drums while singing by hailing. After the war ended the two families returned to their village and introduced the arts to the villagers. They named the music Beduan that originated from the word “berdua-duaan” which means “in twos”. Beduan is very popular during wedding feasts and normally performed on stage built adjoined to the newly-wed’s main residence. The shrieks hailing of the song acts as a direction to guests to the newly-wed’s house. Guests and audiences stand up in front of the house to watch the performance. Beduan members are 10 to 12 persons. They beat drums while singing and hailing. The drum is big with about 140 cm circumference, made of cow hide and jackfruit tree. There are three types of drums used and they are the ‘Gendang Pengibu’ (‘Mother Drum’), ‘Gendang Peningkah’ (‘Rebutting Drum’) and the ‘Gendang Penganak’ (‘Child Drum’). In the Beduan song the drum beater exchanges quatrains with other members. However, only the Beduan members understand the quatrains as they use a dialect understood among themselves only. Among the quatrains is: A chick is inside a betel leaf container, Uncover it and the chick feeds on paddy, Day and night I do remember, Affection is engulfed in my heart.

The Folk Performance of Xuan Pha (in Xuan Pha village, Xuan Truong, Tho Xuan, Thanh Hoa) is a diversity and abundant performance system which reflects the relationship between Dai Viet and other countries in the region and the world Includes 5 performances: Tu Huan, Ai Lao, Chiem Thanh, Ngo Quoc, Hoa Lang. This performance has a long history, most researchers believe that Xuan Pha was formed in the 15th century. In the process of studying this particular type of intangible cultural heritage, Researchers have found many different cultural layers, the earliest cultural layer appearing is the layer of love songs that mixed between the Viet and the Muong ethnic groups and a later cultural layer around the 16th to 17th century reflecting the integration of the Western civilization into the Vietnamese indigenous culture with the Hoa Lang performance. In the past, there was at least 43 area throughout Thanh Hoa province. Until now, only 2 places have been performing all 5 performances, including Xuan Pha. Along with the change of economy - society, Xuan Pha game is also changing gradually to survive and develop. In Xuan Pha, the show is being preserved very well by the community here and promises to develop more in the future Xuan Pha is a performance that has recorded the imprints of the relationship between Dai Viet and other foreign countries. In addition, this study also shows the important trading gateway position of Thanh Hoa province in history as well as the integration characteristics in the international relation context of Lam Kinh in particular and Dai Viet in general

The art of making fish rice has been practiced since the time of their ancestors . The fish rice making is mostly made in Inlay region and sold in Nyaungshwe Township. It is one of the famous traditional foods in Nyaungshwe area.

These photos were taken at the Hansan Mosi Museum in Seocheon, Republic of Korea on 26 July, 2019. Weaving of Mosi in Hansan is transmitted by middle-aged women in the township located in South Chungcheong Province, Republic of Korea. The region boasts fertile land and sea winds that allow ramie plants to thrive. Weaving ramie cloth involves a number of processes, including harvesting, boiling and bleaching ramie plants, spinning yarn out of ramie fibre, and weaving it on a traditional loom. Ramie cloth is comfortable in hot summer weather and is used to produce a variety of clothing from dress suits and military uniforms to mourning garments. The whiteness of the bleached ramie fabric, as well as its refined quality and neatness, makes it suitable for high-end clothing as well as for clothing for ordinary people. Weaving of Mosi traditionally takes place in the form of women-led family operations in which mothers transmit techniques and experience to their daughters or daughters-in-law. The tradition also binds the community together with neighbours gathered and working in a designated section of the town. At present, around 500 people in the province are engaged in the diverse activities of weaving fine ramie. (Reference. UNESCO https://ich.unesco.org/en/RL/weaving-of-mosi-fine-ramie-in-the-hansan-region-00453) As National Intangible Cultural Heritage No.15, it is enlisted on the UNESCO Representative Lists of Intangible Cultural Heritage in 2011.