For hundreds of years, Thai people drew images of animals, Khom scripts, and mystic diagrams (yantra) on their skin, believing that these would protect them against misfortunes. Sacred tattoos, known as sak yant (sak meaning “to tap” or “to tattoo”; yant meaning “sacred design or geometry”), were originally worn by warriors before a battle, but now they are enjoyed by the general public like a lucky charm. Sak yant is traditionally rendered using a bamboo needle by tattoo masters (ajarns) among Buddhist monks. But the magical power of such tattoos is not permanent, so it is believed they should be recharged on a regular basis. The popularity of sak yant led to an annual tattoo festival in March in Wat Bang Phra, a Buddhist temple/monastery about fifty kilometers west from Bangkok.\n\nBefore dawn people start gathering at the vast monastery compound. They sit on the ground facing the altar with the statue of Luang Phor Pern, a famous meditation monk renowned for his mastery of sacred tattoos. Temple monks begin a ceremony called Sak Yant Wai Kru in the morning though prior to this, peculiar occurrences take place. Some of the tattoo-bearers become possessed by their own images: of a warrior, an old man, a tiger, a crocodile, or Hanuman, a monkey demigod of Hindu mythology. All of a sudden they jump up yelling or roaring like animals and run toward the altar. Frenetic in their trance, they are held above the ground, their ears are rubbed or blown, which swiftly brings them back to their normal consciousness, then they do wai (Thai gesture of reverence; a bow with the palms pressed together), and peacefully return to their seats.\n\nThe tradition of writing protective tattoos has a long history in Southeast Asia. Sak yant, sacred geometrical designs tattooed by revered monks, in particular, is an old social practice that continuously reaffirms the heritage of Thailand.\n\nPhoto : Ceremony participant believed to be possessed by his tiger tattoo. © Eva Rapoport

The 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.

Folkland, International Centre for Folklore and Culture is an institution that was first registered on December 20, 1989 under the Societies Registration Act of 1860, vide No. 406/89. Over the last 16 years, it has passed through various stages of growth, especially in the fields of performance, production, documentation, and research, besides the preservation of folk art and culture.Since its inception in 1989, Folkland has passed through various phases of growth into a cultural organization with a global presence. As stated above, Folkland has delved deep into the fields of stage performance, production, documentation, and research, besides the preservation of folk art and culture. It has strived hard and treads the untrodden path with a clear motto of preservation and inculcation of old folk and cultural values in our society. Folkland has a veritable collection of folk songs, folk art forms, riddles, fables, myths, etc. that are on the verge of extinction. This collection has been recorded and archived well for scholastic endeavors and posterity. As such, Folkland defines itself as follows

The School of Living Traditions (SLT) is a flagship program by the National Commission for Culture and the Arts (NCCA), which is the overall policy-making, coordinating and grants-giving agency for the preservation, development and promotion of Philippine culture and arts. Historically, the SLTs were created through the initiatives of community representatives in the NCCA’s Subcommission on Cultural Communities and Traditional Arts to preserve and integrate traditional culture and its various creative expressions as a dynamic part of the national cultural mainstream. It should be noted that the SLT program was instituted in 1995, eight years prior to the Philippines’ ratification of the 2003 Convention on the Safeguarding of Intangible Cultural Heritage. Thus, the SLT program is geared towards revitalizing and safeguarding traditional culture and practices through the transfer of indigenous knowledge and skills from the cultural masters to the young learners in the community. The SLT is not part of the formal Philippine educational system. It operates as a community-based non-formal center of learning involving masters and apprentices. The SLT’s mode of teaching is usually oral, and is grounded in “learning by doing” philosophy.

Not much is known about the history of block printing on textiles in the Philippines. Although one could safely assume that this craft found its way to the Philippines through the Sino-Philippine trade beginning in the tenth century or earlier. Or it could have been the Philippines’ pre-Hispanic interactions with the Hindu-influenced, pre-Islamic civilizations of neighboring Malaysia and Indonesia that block printing as a craft was introduced in the archipelago.

The Law on Cultural Heritage of Vietnam (adopted in 2001, revised in 2009) is the most important legal tool for safeguarding heritage, both natural and cultural, and tangible and intangible, in Vietnam. Compatible to UNESCO’s 2003 Convention on safeguarding intangible cultural heritage, the Law on Cultural Heritage of Vietnam acknowledges and protects the cultural creations of the community produced out of their own needs, through their awareness and labour. Such cultures have a strong attachment to them from one generation to another and become the identity of the community or groups of people in society and their heritage and the heritage of the nation and humankind. Lên Đồng (mediumship) is a religious practice of the Viet/Kinh, the majority group in Vietnam. This ritual originated from the worship of the Mother Goddess. Lên Đồng possibly started in the 15th century and has existed continuously in the people’s life. Yet, in some periods of time, it was not recognized and thus was not practiced openly. Today, Lên Đồng and the worship of the Mother Goddess are open, common and developed in Vietnam. Their values and practice are being studied, clarified and acknowledged for their protection as a national heritage. This work has been carried out with good results thanks to the participation of many scholars, cultural policy makers and especially the self-awareness of identifying and introducing the values of this cultural heritage of the Mother Goddess Worship community. We’d like to express our thanks to ICHCAP and the authorities of Jindo City for inviting us to this Workshop “Safeguarding Shamanism Heritage in Asia”. My paper will present a case study entitled “Together with the community identifying the values, safeguarding Lên đồng mediumship, a Shamanism heritage in Vietnam”

The subject of this study is to find out the protection and sustenance ways of Shaman heritage among the Turks of Turkey. As it is known, Turks of Turkey are shaman community in terms of ancient religions and world-views such as Kazakhs, Uighurs, Uzbeks, Turkmen, Altai, Republic of Tuva, Sakha and other Turkish tribes constituting the Turkish World. Majority of the Turks of Turkey migrated from the middle of today’s Mongolia to the shores of Aegean Sea and Balkan Peninsula in the last 1500 years. Another factor complicating this 1500-year migration is the fact that Turks accepted Manichaeism, Buddhism, Christianity and some groups accepted Judaism. Normally while it was expected that they pursued various religions and dispersed in this tens of thousands kilometer square, these Oghuz tribes weren’t assimilated and they assimilated many communities whose administration they undertook within the scope of their control.

Co-orgarnized by ICHCAP and Hue Monuments Conservation Centre (HMCC), this year’s Asia-Pacific ICH NGO Conference was held in Hue, Vietnam under the theme of ICH NGOs towards Sustainable Development of Communities.

Puppets have been a metaphor in Indian literature for ages. One’s deftness in getting something done is often compared with the skills of a puppeteer. Puppets reflect the helplessness of people in situations beyond their control, like a puppet dancing to the whims of the one pulling its strings. The metaphor, incidentally, is also applicable to the lives of string puppeteers of Muragacha in the Nadia District in the eastern Indian state of West Bengal.

Folkland, International Centre for Folklore and Culture is an institution that was first registered on December 20, 1989 under the Societies Registration Act of 1860, vide No. 406/89. Over the last 16 years, it has passed through various stages of growth, especially in the fields of performance, production, documentation, and research, besides the preservation of folk art and culture.

Bridging ICH communities and governments, NGOs play an integral role in networking and implementing projects to safeguard ICH. The importance of NGOs in ICH safeguarding has been emphasized in the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage. In this issue of the ICH Courier, we present three profiles of ICH NGOs working to safeguard ICH in the South Asian sub-region.

Traditional crafts have long been a part of the traditional nomadic culture of the Kyrgyz people, who have historically lived in close connection with nature. For the Kyrgyz people, the natural world was once seen as an inexhaustible source of raw materials and inspiration for the creation of handicrafts.