REPORT ON THE STATUS OF AN ELEMENT INSCRIBED ON THE …



CONVENTION FOR THE SAFEGUARDING

OF THE INTANGIBLE CULTURAL HERITAGE

INTERGOVERNMENTAL COMMITTEE FOR THE

SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE

Seventh session

Paris

December 2012

Nomination file no. 00619

for Inscription on the List of Intangible

Cultural Heritage in Need of urgent safeguarding in 2012

|A. STATE(S) PARTY(IES) |

|FOR MULTI-NATIONAL NOMINATIONS, STATES PARTIES SHOULD BE LISTED IN THE ORDER ON WHICH THEY HAVE MUTUALLY AGREED. |

|INDONESIA |

|B. NAME OF THE ELEMENT |

|B.1. NAME OF THE ELEMENT IN ENGLISH OR FRENCH |

|This is the official name of the element that will appear in published material. |

|Not to exceed 200 characters |

|Noken multifunctional knotted or woven bag, handcraft of the people of Papua |

|B.2. Name of the element in the language and script of the community concerned, if applicable |

|This is the official name of the element in the vernacular language, corresponding to its official name in English or French (point B.1). |

|Not to exceed 200 characters |

|Noken: Tas Multifungsi Terbuat dengan Teknik Rajut atau Anyam, Kerajinan Tangan Masyarakat Papua |

|B.3. Other name(s) of the element, if any |

|In addition to the official name(s) of the element (point B.1), mention alternate name(s), if any, by which the element is known. |

|The Provinces of Papua and West Papua have at least 250 ethnic communities and 300 languages. Noken has different names in the local languges |

|of these ethnic communities. Some examples are: Su (Hugula) Jum (Dani); Sum (Yali) Inokenson, Inoken (Biak); Agiya (Mee); Ese (Asmat); Dump |

|(Irarutu); Rotang/ Aderi,Kaketa (Serui); Kangke/Koroboi (Tabi/Sentani); Eyu, Yuta (Ayamaru/Maybrat, Ayvat); Qya Qsi/Qya Queri/IQuiyabos |

|(Tehit); Kwok (Moi); Naya (Moli); etc. |

|C. Name of the communities, groups or, if applicable, communities concerned |

|Identify clearly one or several communities, groups or, if applicable, individuals concerned with the nominated element. |

|Not to exceed 150 words |

|All ethnic communities in all seven culture areas in Papua and West Papua Provinces have the noken traditional handcraft. For example, the |

|Sentani, Dani, Yali, Mee, Biak, Arfak, Maybrat, Ayvat, Moni, Asmat, Irarutu, Tehit, Moi, Moli, communities, as well as others, (without in |

|any way diminishing respect to the other ethnic communities which due to word limitations could not be mentioned one by one). There are at |

|least 250 ethnic communities spread throughout Papua and West Provinces. The noken community consists of those who use noken, of all age |

|groups, both male and female, and noken craftspersons who are generally women, “the Mamas of Papua”, adult to aged. There are also male noken |

|craftsmen among the Mee and Asmat communities, and male lovers of noken culture. 311 noken community members were interviewed directly using, |

|but not limited to, a list of questions. Their replies are the content of this file. |

|D. Geographical location and range of the element |

|Provide information on the distribution of the element, indicating if possible the location(s) in which it is centred. If related elements are|

|practised in neighbouring areas, please so indicate. |

|Not to exceed 150 words |

|Noken handcraft in its various forms is found among the people spread among the seven areas of traditional customs of Papua: Mamta, Saireri, |

|Domberai, Bomberai, Ha-Anim, La-Pago dan Me-Pago. (Reference: Council of Traditional Customs of Papua). in the Provinces of Papua and West |

|Papua, Indonesia. |

|E. Domain(s) represented by the element |

|Tick one or more boxes to identify the domain(s) of intangible cultural heritage manifested by the element, which might include one or more of|

|the domains identified in Article 2.2 of the Convention. If you tick ‘others’, specify the domain(s) in brackets. |

| oral traditions and expressions, including language as a vehicle of the intangible cultural heritage |

|performing arts |

|social practices, rituals and festive events |

|knowledge and practices concerning nature and the universe |

|traditional craftsmanship |

|other(s) |

|F. Contact person for correspondence |

|Provide the name, address and other contact information of the person responsible for corof respondentstsce concerning the nomination. If an |

|e-mail address cannot be provided, indicate a fax number. |

|For multi-national nominations provide complete contact information for one person designated by the States Parties as the main contact person|

|for all corof respondentstsce relating to the nomination and for one person in each State Party involved. |

|Title (Ms/Mr, etc.): |

|Dr. (M.Ed) |

| |

|Given name: |

|Hurip Danu Ismadi |

| |

|Institution/position: |

|Director, Centre for Research and Development of Culture |

|Research and Development Bureau, |

|Ministry of Education and Culture |

| |

|Address: |

|Building E 9th Floor, Ministry of Education and Culture Complex |

|Jalan Jenderal Sudirman, Senayan, Jakarta 10270, Indonesia |

| |

|Telephone number: |

|+62 21 572 5573 |

| |

|Fax number: |

|+62 21 572 5543 |

| |

|E-mail address: |

|hismadi@ |

| |

|Other relevant information: |

|Mobile: +62 85210003444 |

| |

|1. Identification and definition of the element |

|FOR CRITERION U.1, THE STATES SHALL DEMONSTRATE THAT ‘THE ELEMENT CONSTITUTES INTANGIBLE CULTURAL HERITAGE AS DEFINED IN ARTICLE 2 OF THE |

|CONVENTION’. |

|This section should address all the significant features of the element as it exists at present, and should include: |

|an explanation of its social and cultural functions and meanings today, within and for its community, |

|the characteristics of the bearers and practitioners of the element, |

|any specific roles or categories of persons with special responsibilities towards the element, |

|the current modes of transmission of the knowledge and skills related to the element. |

|The Committee should receive sufficient information to determine: |

|that the element is among the ‘practices, representations, expressions, knowledge, skills — as well as the instruments, objects, artefacts and|

|cultural spaces associated therewith —’; |

|‘that communities, groups and, in some cases, individuals recognize [it] as part of their cultural heritage’; |

|that it is being ‘transmitted from generation to generation, [and] is constantly recreated by communities and groups in response to their |

|environment, their interaction with nature and their history’; |

|that it provides communities and groups involved with ‘a sense of identity and continuity’; and |

|that it is not incompatible with ‘existing international human rights instruments as well as with the requirements of mutual respect among |

|communities, groups and individuals, and of sustainable development’. |

|Overly technical descriptions should be avoided and submitting States should keep in mind that this section must explain the element to |

|readers who have no prior knowledge or direct experience of it. Nomination files need not address in detail the history of the element, or its|

|origin or antiquity. |

|Not to exceed 1,000 words |

|Noken is a knotted net bag or woven bag made from wood fibre or leaves, sometimes coloured and decorated. Noken is a traditional handcraft of |

|all communities of Papua and West Papua Provinces, Indonesia. |

|The day-to-day function of large size noken is for carrying plantation produce, catch from the sea or lake, wood, babies, small animals, |

|shopping, etc., and for hanging at home to store things. Small size noken is for carrying personal effects such as betel nut, food, books, |

|etc. Noken may be used to cover the head or body. For nearly all (275/311) respondents, noken is an accessory to their traditional dress, and |

|according to most (290/311) is used in traditional ceremonies or celebrations, such as marriage proposals, marriage ceremonies, initiation of |

|children, appointment of community leaders, welcoming guests and for keeping sacred heirlooms.. Among mountain communities, noken had been |

|given along with other presentations to make peace between disputing parties (Alex Hessegem, Deputy Governor of Papua, Interview, Jayapura |

|8/2/2011). Drs. H. Rahimin Katjong, Deputy Governor of West Papua, recalled wearing a small noken containing betel nut etc at the time of his |

|appointment as a traditional community leader at Fak Fak, West Papua (Interview, Manokwari, 18/2/11). |

|Nearly all (276/311) respondents explained that noken is used by all age groups, and most (282/311) observed that noken is used by both sexes.|

|As soon as babies learn to walk, their mothers give them a small noken containing food such as sweet potatoes, thus instilling the habit of |

|carrying one’s own needs, which may also be used to help others, inside a noken which is always close at hand. (Titus Pekei, Interview, |

|Enarotali, 9/2/11).Three quarters of respondents (235/311) said that noken is generally made by women-- ”the Mamas of Papua”--usually adults |

|according to most respondents (250/311). Women thus play a special role in safeguarding noken culture. At Epouto village in Paniai District, |

|we found male orchid-noken craftsmen. Asmat community men also make noken. Most craftspersons make noken in their spare time from |

|agriculture, fishing, and household duties, though some make noken full time. Noken making goes on yearround, but will increase in times |

|leading up to traditional festivals. |

|The method of making noken varies between communities. A basic outline is as follows. Branches or stems or bark of certain small trees or |

|shrubs are cut, sometimes heated over a fire, and soaked in water for some days. After soaking, only wood fibre remains. The Dani/Hugula in |

|Wamena peel bark from sticks of certain trees and then beat the sticks till only fibres remain. The wood fibre is dried, and then spun with |

|the palm of the hand on the thigh of the craftsperson to make a strong thread or string, which is sometimes coloured using natural dyes. This |

|string is knotted by hand to make net bags with various patterns and sizes. The same technique is used to make vests, hats, belts, etc.. In |

|Paniai District we find noken interwoven with special decoration made from fibres from yellow, brown and black. orchid stems. |

|Besides knotting, there are communities which make noken by weaving tree bark, wood fibre, pandan leaf, young sago leaf, or grass from swamps.|

|Some select grasses with contrasting colours (Inanwatan, Metemani, Kais and Kokoda (Imeko) communities). Maybrat community craftspersons |

|colour the fibres with natural colours. The fibres, leaves or grass are woven in various attractive patterns with symbolic meanings. |

|To make noken requires great manual skill, care, artistic sense and inner satisfaction. Craftspersons often make noken while singing |

|traditional songs of Papua. To become proficient in making noken takes up to several months of informal training. A skilled noken craftsperson|

|will be much appreciated within her (or his) community. |

|The diversity of making, wearing and use of noken continues to develop and be recreated as the response of the people of Papua to nature and |

|their environment.. |

|Nearly all respondents (296/311) said that forms, patterns, local motifs and colours of noken made by each ethnic community in Papua differ, |

|indicating cultural diversity. Noken is part of the cultural identity of each ethnic community and of the people of Papua. Prominent people in|

|the community sometimes wear noken with special patterns and ornaments, indicating their social status (Alex Hessegem, Interview, ibid). |

|Practically all respondents (294/311) explained that people learn to make noken from their parents. Young girls learn to make noken informally|

|from their own mother or grandmother, or boys from their father or grandfather in the case of Mee or Asmat community members. Until now, this |

|has been the method of transmission of noken culture. Very few respondents said that they had learned to make noken at school, as very few |

|schools teach noken at present. |

|The majority of respondents (289//311) acknowledge that noken is a part of the customs of their community, and most (292/311) stated that |

|noken was part of their cultural heritage. Nearly all respondents (297/311) considered that noken was related to the life views of the people |

|of Papua. Some examples mentioned were self-reliance and the habit of helping others. (Pekei, Interview, ibid), Noken is referred to as a |

|”moving house” which contains all needs (Tekege, Mikael,, Father, Interview, Epouto, 11/2/11) Noken is considered a symbol of female |

|fertility, a good life, and peace. |

|Nearly all respondents (300/311) stated that if they wore or made noken, they felt they were carrying on the tradition of their forefathers. |

|Many people of Papua who live outside Papua still carry their noken, which may have been made by their own mother, to remember their family, |

|their village and their place of birth. (Pekei, Interview, ibid). |

|Noken culture does not contravene international instruments on human rights, or sustainable development. Noken may be worn or used by anyone,|

|and is often given as a sign of friendship, and even as a gift to create peace. All respondents (311/311) explained that noken is |

|traditionally made from wood fibre, grass or leaves which grow easily, so their harvesting does not damage the environment. |

|2. Need for urgent safeguarding |

|FOR CRITERION U.2, THE STATES SHALL DEMONSTRATE THAT ‘THE ELEMENT IS IN URGENT NEED OF SAFEGUARDING BECAUSE ITS VIABILITY IS AT RISK DESPITE |

|THE EFFORTS OF THE COMMUNITY, GROUP OR, IF APPLICABLE, INDIVIDUALS AND STATE(S) PARTY(IES) CONCERNED’. |

|Describe the current level of viability of the element, particularly the frequency and extent of its practice, the strength of traditional |

|modes of transmission, the demographics of practitioners and audiences and its sustainability. |

|Identify and describe the threats to the element’s continued transmission and enactment and describe the severity and immediacy of those |

|threats. The threats described here should be specific to the element concerned, but not a generic cause that would be applicable to any |

|intangible heritage. |

|Not to exceed 1,000 words |

|Nearly half of respondents (131/311) observed that the number of people wearing or using noken is diminishing. In villages, many people, |

|including men, women, and children, still use noken, whereas in cities and places where markets sell goods from outside Papua, fewer people |

|wear noken. |

|Three quarters of respondents (235/311) noted that people in Papua have begun to prefer to use imported bags rather than noken which is part |

|of their traditional customs. This is much evident in the field, especially among young people. Markets visited, eg. Oyeye Market, Nabire and |

|Manokwari Market, almost all of the merchants were only selling modern imported bags. In Jayapura, we found but a few noken craftspersons |

|selling noken on the side of the street. Only in Wamena market in the central mountains did we find a special section dedicated for sale of |

|noken and other traditional handcrafts. Many craftspersons reported difficulties in selling the noken which they had made. If people’s |

|interest to make, buy, own and use noken fades and eventually disappears, then sooner or later no more craftspersons will make noken. |

|Most noken craftspersons make noken part time, when they are not busy with agriculture, fishing, household duties, etc., though some also make|

|noken full time. Making noken goes on yearround, but increases approaching traditional festivals where more noken will be needed. The |

|demography of noken craftspersons is mostly females, girls beginning from school age, up to married ladies and elderly women. Some boys and |

|men in Paniai and Asmat communities make noken. Noken skill is traditionally transmitted from parents to their children.The transmission will |

|go on informally, when the parents and the children have time, over a period of months. Traditional transmission is effective, but presently |

|the frequency of this transmission is diminishing. |

|A lmajority of respondents (270/311), including even noken craftspersons in villages, mentioned children being busy studying at school |

|(sometimes far from their homes) as a factor causing children to have no time to learn how to make noken from their parents. This contributes |

|to weakening of traditional transmission of noken culture. In the field, it was noted that most noken craftspersons were 40 years of age or |

|over. Random interviews at some schools revealed that few (Iless than 20%) of the students owned and/or used noken. Even fewer students could |

|make noken themselves. Many children of noken craftspersons could not make noken, and there were not yet coordinated efforts to transmit noken|

|skills to these young people. |

|Over half of respondents (166/311) observed that the number of noken craftspersons is decreasing. Field observations confirmed that noken |

|craftspersons are few and mostly decreasing. For example, in Kwadeare, West Sentani, the number of noken craftspersons is presently just 10 |

|persons. In Biak Island, we found no more than 10 ladies in two groups, most of whom were already elderly, still making noken, In Mokwam |

|village, Arfak, there remain just 4 active noken craftspersons. In Wamena we found a few tens of noken craftspersons, in two groups. During |

|our research, only in Epouto, Paniai, did we find noken craftspersons in a rather large number in one place. At Wayer, South Sorong district, |

|the local government and the community have made exemplary efforts to support the craftspersons, causing their numbers to increase. However, |

|even in Wayer, the craftspersons number only a few tens of ladies – still small in comparison with the population. The ladies here also |

|reported difficulties in selling the noken bags which they had made. |

|One threat causing the number of noken craftspersons to decrease reported in several places was difficulties in obtaining raw materials for |

|making wood fibre. According to a majority of respondents (193/311), wood fibre raw material is becoming increasingly difficult to obtain. We |

|noted in several places that many craftspersons were switching from wood fibre which takes a long time to spin into string, to using imported |

|factory-made plastic or nylon cord. This is very visible at Gaya Baru in Manokwari city, where almost all the ladies use plastic cord to make |

|noken. In Wamena District, especially outside the town, we noted that many people still wear and use noken; however, most of the noken made |

|there are from plastic cord. Some may say that switching to plastic cord is a time-saving adaptation or innovation. On the other hand, plastic|

|cord is expensive, non-biodegradable, imported and sold by people outside the local communities. Changing from the local natural cord spun |

|from wood fibre or leaves is also considered a loss of some of the original cultural values of noken. |

|Another reason cited for the decrease in the numbers of noken craftspersons is a lack of awareness of the importance of safeguarding noken |

|cultural heritage. |

|Four-fifths (251/311) of respondents remarked that nowdays noken is made more for sale than for traditional customary use. This indicates a |

|shift in the function of noken from a tool for transportation and storage related to customs and traditions, generally made for one’s own use,|

|to become a commodity of trade with economic value, to be sold to others. In South Sorong many of the craftspersons interviewed made noken in |

|the hope that they could sell their crafts to help the economic condition of their families. |

|The pace of development and modernization in the provinces of Papua and West Papua, the influence of modern media such as television, video, |

|internet, video games etc, and marketing of modern factory made bags in almost all of the markets are factors causing the people of Papua, |

|especially the younger generation, to have decreasing interest in the old cultural heritage, including noken. |

|In summary, factors threatening noken, which evidence a need for its urgent safeguarding, include: lack of awareness of noken cultural |

|heritage; weakening of traditional transmission of noken skills and culture from parents to children; children busy with studies and noken |

|practically not being taught in schools; decreasing numbers of noken craftspersons; competition from modern factory-made bags; problems in |

|easily and quickly obtaining traditional raw materials; and shifts in cultural values of noken. |

|3. Safeguarding measures |

|FOR CRITERION U.3, THE STATES SHALL DEMONSTRATE THAT ‘SAFEGUARDING MEASURES ARE ELABORATED THAT MAY ENABLE THE COMMUNITY, GROUP OR, IF |

|APPLICABLE, INDIVIDUALS CONCERNED TO CONTINUE THE PRACTICE AND TRANSMISSION OF THE ELEMENT’. |

|3.A. PAST AND CURRENT EFFORTS TO SAFEGUARD THE ELEMENT |

|The feasibility of safeguarding depends in large part on the aspirations and commitment of the community, group or, if applicable, individuals|

|concerned. Describe past and current efforts of the concerned communities, groups or, if applicable, individuals to ensure the viability of |

|the element. |

|Describe also past and current efforts of the concerned State(s) Party(ies) to safeguard the element, taking note of external or internal |

|constraints, such as limited resources. |

|Not to exceed 500 words |

|Over a third (106/311) of respondents said that there have been efforts by the Provincial and District/Municipal governments to safeguard |

|noken culture. In Wayer Subdistrict in South Sorong District, the local government has begun give guidance and assitance to noken |

|craftspersons, so that they may be enthused (Mrs. Yohana Saur, Interview, 19/2/11). Papua Province Culture Park had tried to introduce local |

|content of traditional arts and culture of Biak (including noken) in the form of school teaching materials. (Aloysius Nafurbenan, Interview, |

|Jayapura 13/2/11). Respondents in Biak confirmed that previously there had been noken handcrafts as local content in schools, but it had been |

|discontinued (Helia Wandosa, Interview, Biak, 12/2/11). Some teachers and school headmasters interviewed cited lack of funds, difficulties in |

|obtaining raw materials, a lack of teaching materials on noken, and difficulties finding teachers to teach noken handcrafts as impediments to |

|efforts to teach noken in schools as local content. We may conclude that there have been efforts to safeguard noken on the part of governments|

|in several places; however, these efforts are not yet optimum or sufficiently widespread to guarantee the safeguarding and ongoing development|

|of the noken culture. |

|Four-fifths (248/311) of respondents said that there have been efforts by the community to safeguard noken culture. Among these efforts are |

|through sanggar, or groups of craftspersons. Such small groups were found in West Sentani, Epouto (Paniai), Biak, Wamena, Mokwam, etc. In |

|South Sorong, there have been efforts to safeguard noken through PKK (ladies’ family welfare groups). However, these efforts are not yet |

|widespread or well coordinated. The coordinators of these groups admitted that they still face many impediments, and thus their efforts are |

|not yet sufficient to guarantee viability of noken culture. |

|Interviews with Provincial and District/Municipal government officials indicated that virtually all (59/60) would support, if there were |

|action plans to safeguard noken culture. Nearly all respondents (306/311) said that they would participate if there were efforts to safeguard |

|noken culture, which is part of their cultural identity. It is noteworthy that several prominent figures of Papua, among them ethnic community|

|and religious leaders, stated that they would very much support efforts to safeguard noken cultural heritage. |

|However, almost four-fifths of respondents (243/311) felt that there were constraints to the safeguarding of noken cultural heritage. Internal|

|constraints mentioned include lack of funds, low priority given to safeguarding cultural heritage, lack of teaching materials, difficulties in|

|finding teachers, and a general lack of awareness among stakeholders (government and community) of the importance of safeguarding noken |

|cultural heritage. External constraints mentioned included demands for local development in many fields, globalization and modernization, |

|which have not yet given a prominent place for safeguarding traditional cultural heritage such as noken. |

|We may conclude that there have been limited efforts by local governments and communities to help noken craftspersons, including preparing |

|teaching materials and teaching noken in schools. Such efforts would need to be promoted and enhanced in a systematic and ongoing way, in |

|order to guarantee safeguarding of noken cultural heritage. |

|3.b. Safeguarding measures proposed |

|This section should identify and describe a coherent set of safeguarding measures that, within a time-frame of approximately four years, could|

|respond the need for urgent safeguarding and substantially enhance the viability of the element, if implemented, and provide detailed |

|information as follows: |

|What primary objective(s) will be addressed and what concrete results will be expected? |

|What are the key activities to be carried out in order to achieve these expected results? Describe the activities in detail and in their best |

|sequence, addressing their feasibility. |

|Describe the mechanisms for the full participation of communities, groups or, if appropriate, individuals in the proposed safeguarding |

|measures. Provide as detailed as possible information about the communities, in particular, practitioners and their roles in implementing |

|safeguarding measures. The description should cover not only the participation of the communities as beneficiaries of technical and financial |

|support, but also their active participation in the planning and implementation of all of the activities. |

|Describe the competent body with responsibility for the local management and safeguarding of the element, and its human resources available |

|for implementing the project. (Contact information is to be provided in point 3.c below.) |

|Provide evidence that the State(s) Party(ies) concerned has the commitment to support the safeguarding effort by creating favourable |

|conditions for its implementation. |

|Provide a timetable for the proposed activities and estimate the funds required for their implementation (if possible, in US dollers), |

|identifying any available resources (governmental sources, in-kind community inputs, etc.). |

|Not to exceed 2,000 words |

|Basis |

|Considering the diagnosis presented in section 2.b and safeguarding efforts so far in section 3.a, and addressing the issues summarized at the|

|end of these two sections. |

|311 respondents in Papua and West Papua were interviewed directly between 6th and 22nd February 2011. Among other questions, respondents were |

|asked their opinions regarding a number of actions which might be taken to safeguard noken culture, specifically addressing the factors |

|identified as threatening noken cultural heritage. Their opinions are as follows: |

|Preparation of teaching materials about noken in the form of books and videos. 92% (286/311) agreed |

|Noken to be included in school curricula as local content or extracurricular activity 98% (305/311) agreed |

|Training in making noken 100% (310/311) agreed |

|Revitalization of the function of noken among the community 98% (305/311) agreed |

|Promotion of noken by local governments 98% (305/311) agreed |

|Based upon these opinions and interviews, the following action plan for safeguarding and development of noken was drafted: |

|3.b.1 Inventory of Noken Cultural Heritage |

|Objectives: To compile more extensive data regarding noken among various ethnic communities in Papua and West Papua, spread among the seven |

|areas of traditional customs of Papua (see section D above) Inventory is to be collected mainly among noken craftspersons. to be used as a |

|basis for safeguarding of noken, especially for transmission to the younger generation, who are not sufficiently receiving noken culture due |

|to the weakening of traditional methods of transmission. |

|Results: Written inventory and documentation in the form of photos, videos, reference books and articles, so that noken may be preserved by |

|record. The data will be stored at the Centre for Research and Development of Culture of the Ministry of Education and Culture, the Office for|

|Safeguarding of History and Traditional Values of Papua, Culture Services of Papua and West Papua, Papua Culture Park, the State Museum of |

|Papua and District/Municipal Culture Services in Papua and West Papua Provinces. |

|Activities Firstly, capacity building workshops would be held regarding the system of inventory of intangible cultural heritage according to |

|the Practical Handbook of Inventory of the Intangible Cultural Heritage of Indonesia. The training would be given to Provincial and |

|District/Municipal Culture Services, related institutions such as the Papua Culture Park, culture experts, university students and noken |

|community organizations such as groups of craftspersons. After this, field research would be done to compile data in the form of interviews of|

|craftspersons and other source persons. Photographic and video documentation would be gathered. Because Papua is a vast area and many parts |

|are difficult to access, areas and ethnic communities would be selected to represent the abovementioned seven culture areas as targets of |

|research. The data would be recorded manually and digitally. |

|Mechanism for community involvement: Reseach would be conducted by directly meeting the communities and interviewing craftspersons and others |

|and documenting them. Information regarding craftpesons and other expert source persons is important to be used in subsequent safeguarding |

|activities, and also for regular updating of data. The community members themselves could also be trained to be involved directly in data |

|collection regarding their own cultural heritage. |

|Competant responsible bodies: Office for Safeguarding History and Traditional Values of Papua and West Papua, Culture Services of Papua and |

|West Papua Provinces, Papua Culture Park, District/Muncipal Culture Services of Papua and West Papua. Capacity building training would be |

|given by the Centre for Research and Development of Culture of the Ministry of Education and Culture. Data to be stored by the Directorate for|

|Internalization of Values and Cultural Diplomacy and other bodies abovementioned.. |

|Evidence of commitment Partially executed in 2011. Budgetted by relevant officials. |

|Timetable 2011-2012. Inventory to be updated at least every 2 years. |

|Estimated Budget: $68,454, over 2 years |

|Funding Sources National Budget Directorate for Internalization of Values and Cultural Diplomacy, Centre for Research and Development of |

|Culture |

|3.b.2 Preparation of Noken Teaching Materials in the form of books/ interactive CD/DVD and posters |

|Objectives: There are presently few books or audio-visual materials which could be used as a basis for transmitting noken culture to the |

|younger generation. Until now, transmission has been informal, from parents to children. If transmission is to be enhanced both informally |

|through groups of craftspersons and formally through schools, then teaching materials are needed. It has been noted that communities’ |

|awareness of types of noken beyond their own areas is very limited. Multicultural awareness regarding noken could be developed if noken |

|teaching materials with examples of noken from various areas of Papua and West Papua are prepared. |

|Results: Noken teaching materials regarding noken in the seven culture areas of Papua in the form of illustrated books with explanations |

|regarding the various types of noken found among the people of Papua, the method of making them, and the cultural values related to noken. |

|Teaching materials would also be in the form of interactive CD/DVD regarding various kinds of noken, methods of spinning noken raw materials |

|from wood fibre etc, and methods of making noken. Posters of noken from various areas of Papua and West Papua would be prepared to be used by |

|groups of craftspersons and schools. |

|Activities The results of inventory would be used to compile illustrated books, audio visual materials such as interactive CD/DVD and posters,|

|to be used by groups of craftspersons as well as by institutions of formal education to teach about noken. Books and posters would be printed,|

|and interactive CD/DVD regarding noken would be duplicated. |

|Mechanism for community involvement: Teaching materials would be prepared using noken community members as expert source persons. The teaching|

|materials would be distributed to groups of noken craftspersons and schools which would teach noken as local content. |

|Competant responsible bodies: Directorate for Internalization of Values and Cultural Diplomacy, Centre for Research and Development of |

|Culture, Office for Safeguarding History and Traditional Values, Papua Culture Park, and District/Muncipal Culture Services of Papua and West |

|Papua Provinces, |

|Evidence of commitment Budgetted by relevant officials |

|Timetable: 2012-2013 |

|Estimated Budget: $20,536 over 2 years |

|Funding Sources National Budget The Directorate for Internalization of Values and Cultural Diplomacy, Centre for Research and Development of |

|Culture |

|3.b.3 Inclusion of Noken in School Curricula as Local Content. |

|Objectives: To include noken culture in curricula as “local content” in Papua and West Papua Provinces, according to Law No. 20 of 2003 |

|regarding the System of National Education, Article 37 (j) which establishes local content within the curriculum of national education. “Local|

|content” can contain local language and culture, supporting the principle of cultural diversity. Noken handcraft had once been included in |

|curricula in a few places, but was discontinued. This activity needs to be established. |

|Results: Noken would become “local content” in many areas of Papua and West Papua, using teaching materials in the form of books, interactive |

|CD/DVD and posters which have been prepared. This would strengthen transmission of noken cultural heritage to the younger generation, both |

|informally though groups of craftspersons, and formally in schools. |

|Activities Based on the abovementioned Law on the System of National Education, Governors, District Heads/Mayors in Papua and West Papua can |

|issue decrees recommending or requiring noken to be included in school curricula as local content. These decrees would be socialized by the |

|Provincial Governments of Papua and West Papua to the District/Municipal Education Services, and by District/Municipal Governments throughout |

|Papua and West Papua to school headmasters in their respective areas. Training would be given to teachers who would teach noken handcrafts in |

|schools. |

|Mechanism for community involvement: This activity would provide opportunities for noken craftspersons to teach noken handcrafts to children |

|at schools, and also to conduct “training of trainers” for teachers, so that they could teach noken handcrafts to their students. Note that |

|virtually all respondents agreed with inclusion of noken in school curricula, and no ojections were voiced at either of the verification |

|seminars held, or since then. |

|Competant responsible bodies: Governors of the Provinces of Papua and West Papua, Distict Heads and Mayors, Provincial Education Services |

|District/Municipal Education Services of Papua and West Papua Provinces, Headmasters and teachers. |

|Evidence of commitments: Signed statements by Governors of Papua and West Papua Provinces |

|Timetable: 2012 - 2015 |

|Estimated Budget: $26,241, over 4 years |

|Funding Sources: Provincial and District/Municipal Budgets |

|3.b.4 Training in Noken Through Craftspersons’ Groups (Sample Project) |

|Objectives: Though noken craftpersons tend to work alone, groups of noken craftspersons can help the craftspersons, for example by increasing |

|training in noken, especially transmission of knowledge and skills of noken to younger generations. These groups could also help craftspersons|

|to get raw materials, which of late have become more difficult to obtain in some places, for example by planting the small trees used. |

|Training among groups of craftspersons could also utilize the noken teaching materials which are to be prepared. |

|Results: Training in noken traditional handcrafts among groups of craftspersons would be enhanced, making transmission of noken traditional |

|handcrafts more effective. |

|Activities: A number of groups of craftspersons would be selected to participate in “pilot projects” in several districts. Training would be |

|given using teaching materials prepared. |

|Mechanism for community involvement: The members of groups of noken craftspersons are all members of noken communities. They would |

|automatically be involved in this training activity. Others who presently cannot make noken, could learn how to make noken. |

|Competant responsible bodies: The Directorate for Internalization of Values and Cultural Diplomacy , District/Municipal Culture Services. |

|Groups of noken craftspersons chosen as “pilot projects” |

|Evidence of commitment: Signed statments by Governors of Papua and West Papua Provinces |

|Timetable: 2012 -2015 |

|Estimated Budget: $12,550, over 4 years |

|Funding Sources: Provincial and District/Municipal Budgets |

|3.b.5 Revitalization of Noken Culture among Communities (Collaboration with Organizations of Traditional Customs of Papua) |

|Objectives: It is noted that wearing and use of noken, handcraft of making noken, and community awareness of noken among the communities of |

|Papua has begun to decline. Therefore, efforts are needed to increase community awareness regarding noken. This can be done through |

|organizations of traditional customs, public figures and religious figures in Papua. |

|Results: Increased awareness among the people of Papua regarding noken handcraft and its associated cultural values as part of their |

|intangible cultural heritage. |

|Activities Sosialization of noken cultural heritage through organizations of traditional customs of Papua, community and religious leaders of |

|Papua. |

|Mechanism for community involvement: Organizations of traditional customs, community and religious leaders would involve noken communities in|

|sosializing noken cultural heritage all over Papua and West Papua. |

|Competant responsible bodies: District/Municipal Governments, Organizations of Traditional Customs in Papua and West Papua. |

|Evidence of commitment Signed statements by Governors of Papua and West Papua Provinces |

|Timetable: 2013-2015 |

|Estimated Budget: $27,382, over 3 years |

|Funding Sources Provincial and District/Municipal Budgets |

|3.b.6 Promotion of Noken Cultural Heritage by Local Governments |

|Objectives: Provincial and District Governments should increase their efforts to safeguard and develop noken cultural heritage, |

|Results: Promotion of noken cultural heritage by the government would increase community awareness of the cultural diversity of noken existing|

|in the various areas of Papua and West Papua, and would also enthuse them to use and make noken as their traditional handcraft. |

|Activities: Promotion of noken cultural heritage through Provincial and District/Municipal Culture Services. Noken is a cultural icon of the |

|people of Papua. For example, noken could be exhibited at exhibitions of handcrafts of Papua. Noken can be given as souvenirs to guests of |

|Provincial and District/Municipal Governments. |

|Mechanism for community involvement: Culture as well as other Services in Provincial and District/Municipal Governments should get to know |

|communities of noken craftspersons in their respective areas, and make them partners in safeguarding noken cultural heritage. |

|Competant responsible bodies: Provincial Governments and District/Municipal Governments of Papua and West Papua Provinces. |

|Evidence of commitment Signed statements by Governors of Papua and West Papua Provinces |

|Timetable : 2012-2015 |

|Estimated Budget $18,254 over 4 years |

|Funding Sources: Provincial and District/Municipal Budgets |

|Items 3.b.2,3,4, and 5 would also specifically aim to increase awareness and respect for traditional customs relating to noken, through formal|

|and informal education. |

|3.c. Competent body(ies) involved in safeguarding |

|Provide the name, address and other contact information of the competent body(ies), and if applicable, the name and title of the contact |

|person(s), with responsibility for the local management and safeguarding of the element. |

|Name of the body: |

|DEPUTY V FOR CULTURE, TOURISM, YOUTH AND SPORTS COORDINATING MINISTER FOR PEOPLE’S WELFARE OF THE REPUBLIC OF INDONESIA |

| |

|Name and title of the contact person: |

|Drs. Sugihartatmo, MPIA |

|5th Deputy Minister for Culture, Tourism, Youth and Sports |

| |

|Address: |

|Coordinating Minister for People’s Welfare |

|Jalan Medan Merdeka Barat No. 3, Jakarta 10110, Indonesia |

| |

|Telephone number: |

|62 21 345 3284 |

| |

|Fax number: |

|+62 21 345 3284 |

| |

|E-mail address: |

|sugihartatmo@menkokesra.go.id |

| |

|Name of the body: |

| |

|Name and title of the contact person: |

|Address: |

|Telephone number: |

|Fax number: |

|E-mail address: |

|Other relevant information: |

|Name of the body: |

|Name and title of the contact person: |

|Address: |

|Telephone number: |

|Fax number: |

|E-mail address: |

|Name of the body: |

|Name and title of the contact person: |

|Address: |

|Telephone number: |

|Fax number: |

|Other relevant information: |

|Name of the body: |

|Name and title of the contact person: |

|Address: |

|Telephone number: |

|Other relevant information: |

|DIRECTORATE FOR INTERNALIZATION OF VALUES AND CULTURAL DIPLOMACY, MINSTRY OF EDUCATION AND CULTURE OF THE REPUBLIC OF INDONESIA |

|Prof. Etty Indriati, Ph.D, Director for Internalization of Values and Cultural Diplomacy |

|Ministry of Education and Culture Complex, Building E 10th Floor Jalan Jenderal Sudirman, Jakarta 10270, Indonesia |

|+62 21 572 5047 |

|+62 21 572 5047 |

|ettykurtz@ |

|Mobile: +62 8118500908 |

|THE OFFICE FOR EDUCATIONAL RESEARCH AND DEVELOPMENT |

|Prof. Dr. Khairil Anwar |

|Head of the Office for Educational Research and Development |

|Ministry of Education and Culture Complex, Building E 2nd Floor Jalan Jenderal Sudirman, Jakarta 10270, Indonesia |

|+62 21 3838615 |

|+62 21 3861700 |

|kabadan.budpar@ |

|CULTURE SERVICE OF THE PROVINCE OF PAPUA |

|Willem Charles Rumbino, Head of Culture Service |

|Jalan Raya Abepura Kotaraja, Jayapura |

|+62 967 583001 |

|+62 967 586551 |

|Mobile: +62 821 977 66295 |

|CULTURE SERVICE OF THE PROVINCE OF WEST PAPUA |

|Frans Kosama, Head of Culture Service |

|Jalan Drs. Esau Sesa, Manokwari, West Papua |

|+62 986 215138 |

|+62 986 215138 |

|Mobile: +62 85310115790 |

| |

| |

|4. Community participation and consent in the nomination process |

|FOR CRITERION U.4, THE STATES SHALL DEMONSTRATE THAT ‘THE ELEMENT HAS BEEN NOMINATED FOLLOWING THE WIDEST POSSIBLE PARTICIPATION OF THE |

|COMMUNITY, GROUP OR, IF APPLICABLE, INDIVIDUALS CONCERNED AND WITH THEIR FREE, PRIOR AND INFORMED CONSENT’. |

|4.A. PARTICIPATION OF COMMUNITIES, GROUPS AND INDIVIDUALS CONCERNED IN THE NOMINATION PROCESS |

|Describe how the community, group or, if applicable, individuals concerned have participated actively in preparing and elaborating the |

|nomination at all stages. |

|States Parties are encouraged to prepare nominations with the participation of a wide variety of all concerned parties, including where |

|appropriate local and regional governments, communities, NGOs, research institutes, centres of expertise and others. |

|Not to exceed 500 words |

|Noken communities were involved in the nomination process in the following ways: |

|Noken community members were made members of the noken nomination Research Team from the beginning; |

|Noken community members were invited to meetings of the Research Team; |

|Field research in noken communities among 27 ethnic communities was conducted from 6th – 22nd February 2011 in 4 areas in Papua Province, |

|namely Jayapura/Sentani, Enarotali/Paniai, Biak and Wamena, and 4 areas in West Papua Province; namely, Mokwan/Arfak, Manokwari, South Sorong |

|and Sorong. The research involved filling of questionaires containing 30 questions by directly interviewing 311 source persons from among |

|Noken communities; |

|Representatives of noken communities, culture experts, provincial and district/municipal government officials, religious leaders, leaders of |

|organizations of traditional customs from various areas attended the 1st Verfication Seminar (15th Februari 2011) at Yasmin Hotel Yasmin, |

|Jayapura City, Papua and the 2nd Verification Seminar (22nd February 2011) at Mariat Hotel, Sorong City, West Papua, and have given their |

|imput for additional information and correction of the draft nomination file. |

|Community representatives and other stakeholders have signed a statement of participation and free, prior and informed consent to the |

|corrected nomination file, before it was given to the Government for submission to UNESCO (Annexed). This statement also includes a statement |

|of resolve to mutual respect and collaboration to work together to safeguard and develop noken intangible cultural heritage. |

|4.b. Free, prior and informed consent to the nomination |

|The free, prior and informed consent to the nomination of the element from the community, group or, if applicable, individuals concerned may |

|be demonstrated through written or recorded concurrence, or through other means, according to the legal regimen of the State Party and the |

|infinite variety of communities and groups concerned. The Committee will welcome a broad range of demonstrations or attestations of community |

|consent in preference to standard or uniform declarations. They should be provided in their original language as well as in English or French,|

|if needed. |

|Attach to the nomination form information showing such consent and indicate below what documents you are providing and what form they take. |

|Not to exceed 250 words |

|See 4.a sub d and e above. |

|Free, prior and informed consent by noken communities, groups and individuals is in the form of a Statement in Indonesian and English |

|languages, signed by the delegates to the 1st Verfication Seminar (15th Februari 2011) at Yasmin Hotel Yasmin, Jayapura City, Papua and the |

|2nd Verification Seminar (22nd February 2011) at Mariat Hotel, Sorong City, West Papua, and also by noken community members in the areas |

|researched. 106 persons have signed this statement in Jayapura, 81 in Sorong, and 41 at various places in Papua and West Papua, the total |

|being 228 persons. The original statements signed by noken community members is annexed. Additional evidence is given in the form of photo and|

|video documentation of the two verification seminars. |

|All respondents (311/311) agreed that noken be nominated to be inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent |

|Safeguarding, and practically all (306/311) stated that should there be an action plan to safeguard noken intangible cultural heritage, they |

|were very much interested to participate in the execution of the proposed action plan. |

|4.c. Respect for customary practices governing access to the element |

|Access to certain specific aspects of intangible cultural heritage or to information about it is sometimes restricted by customary practices |

|enacted and conducted by the communities in order, for example, to maintain the secrecy of certain knowledge. Indicate whether or not such |

|practices exist, and if they do, demonstrate that inscription of the element and implementation of the safeguarding measures would fully |

|respect such customary practices governing access to specific aspects of such heritage (cf. Article 13 of the Convention). Describe any |

|specific measures that might need to be taken to ensure such respect. If no such practices exist, please provide a clear statement on it. |

|Not to exceed 250 words |

|Most respondents (272/311) said there were no customary rules restricting who may wear or use noken, and even more (286/311) said there were |

|no customary rules regarding where or when noken may be used, nor any customary rules as to who may make noken according to most respondents |

|(235/311). Some kinds of noken are only made and used by certain people. (Drs. Mika Duwit, Interview, Sorong, 22/2/11) |

|According to a large majority of respondents (275/311), among most ethnic communities, only women may make noken, as noken is considered to be|

|a symbol of the fertility of a woman’s womb. Some exceptions are the Moi who allow both men and women to make noken (Torianus Kalami, |

|Interview, Sorong 21/2/11), the Mee whose special orchid-noken was formerly made only by men, but has begun to be made by both men and women, |

|and the Asmat whose men . also make noken. . |

|The Moi and some other communities in the “Bird’s Head” area of West Papua follow a custom which considers girls who cannot make noken are not|

|yet grown up or ready to be married. Noken still has a sacred and important meaning in the cultural structure of the ethnic communities of |

|Papua, eg. one should not step between a person and that person’s noken, and noken must always be kept close to its owner (Titus Pekei, |

|Interview, ibid). |

|The research team respected the customs regarding noken, and inscription would remind communities of Papua to respect these traditional |

|customs. |

|4.d. Concerned community organization(s) or representative(s) |

|Provide the name, address and other contact information of community organizations or representatives, or other non-governmental organizations,|

|that are concerned with the element such as associations, organizations, clubs, guilds, steering committees, etc. |

|Organization/ Community: |

|SKB Enarotali |

| |

|Name and title of the contact person: |

|Theresia Edu Wae (Mrs.), Chairperson |

| |

|Address: |

|Kampung Eikai, Enarotali, Kab. Panian, Papua |

| |

|Telephone number: |

|(Mobile) +62 85244989191 |

| |

|Organization/ Community: |

|Name and title of the contact person: |

|Address: |

|Telephone number: |

|Organization/ Community: |

|Name and title of the contact person: |

|Address: |

|Telephone number: |

|Organization/ Community: |

|Name and title of the contact person: |

|Address: |

|Telephone number: |

|Lembaga: PKK Distrik Wayer, Kabupaten Sorong Selatan |

|Yohana Saur (Mrs.), Chairperson |

|Kantor Distrik Wayer, Teminabuan, Kab. Sorong Selatan |

|(Mobile) +62 81344568512 |

|PKK Desa Orwer |

|Renina Tuse, Chairperson |

|Desa Orwer, Kec Biak Timur, Kabupaten Biak |

|+62 85244377140 |

|Dewan Adat Daerah Hubula |

|Amos Wetipo |

|Kampung Simiatama, Distrik Asotipo, Kabupaten Wamena |

|(Mobile) +62 82198039070 |

| |

|5. Inclusion of the element in an inventory |

|FOR CRITERION U.5, THE STATES SHALL DEMONSTRATE THAT ‘THE ELEMENT IS INCLUDED IN AN INVENTORY OF THE INTANGIBLE CULTURAL HERITAGE PRESENT IN |

|THE TERRITORY(IES) OF THE SUBMITTING STATE(S) PARTY(IES) AS DEFINED IN ARTICLES 11 AND 12 OF THE CONVENTION’. |

|Identify the inventory in which the element has been included and the office, agency, organization or body responsible for maintaining that |

|inventory. Demonstrate that the inventory has been drawn up in conformity with the Convention, in particular Article 11 (b) that stipulates |

|that intangible cultural heritage shall be identified and defined ‘with the participation of communities, groups and relevant non-governmental |

|organizations’ and Article 12 requiring that inventories be regularly updated. |

|The nominated element’s inclusion in an inventory should not in any way imply or require that the inventory(ies) should have been completed |

|prior to nomination. Rather, a submitting State Party may be in the process of completing or updating one or more inventories, but has already |

|duly included the nominated element on an inventory-in-progress. |

|Attach to the nomination form documents showing the inclusion of the element in an inventory or refer to a website presenting that inventory. |

|Not to exceed 200 words |

|From 6th to 22nd February 2011, the Office for Safeguarding of History and Traditional Values of Papua in Jayapura completed updating its |

|inventory of noken cultural heritage in the provinces of Papua and West Papua. This report included inventory of noken culture in several |

|districts in Papua and West Papua. |

|In February 2010, the (then) Ministry of Culture and Tourism in collaboration with UNESCO Jakarta Office published A Practical Guide to |

|Inventory of Intangible Cultural Heritage of Indonesia. This book contains a form with 17 data fields to be entered either manually or |

|digitally through internet. This inventory system involves the community and is updated at least every two years, and digitally on a continuous|

|basis. |

|The above updated inventory material has been received by the Directorate General for Cultural Values, Arts and Film, and has been given |

|registration number 2011 000943, dated 1st March 2011. The inventory is presently kept on the 4th floor of building E of the Ministry of |

|Education and Culture Complex in Jalan Jenderal Sudirman, Senayan, Jakarta. The inventory entry has recently been viewed and verfied by a visit|

|by Mr. Masanori Nagaoka, Programme Specialist in Culture at UNESCO Jakarta Office. |

|Inventory material regarding noken may be found on the following website: |

| |

|6. Documentation |

|6.A. APPENDED DOCUMENTATION |

|The documentation listed below is mandatory and will be used in the process of examining and evaluating the nomination. It will also be helpful|

|for visibility activities if the element is inscribed. Tick the following boxes to confirm that related items are included with the nomination |

|and that they follow the instructions. Additional materials other than those specified below cannot be accepted and will not be returned. |

| 10 recent photographs in high definition |

|cession(s) of rights corresponding to the photos (Form ICH-07-photo) |

|edited video (up to 10 minutes) |

|cession(s) of rights corresponding to the video recording (Form ICH-07-video) |

|6.b. Principal published references |

|Submitting States may wish to list, using a standard bibliographic format, principal published references providing supplementary information |

|on the element, such as books, articles, audiovisual materials or websites. Such published works should not be sent along with the nomination. |

|Not to exceed one standard page. |

|The following references are bgoks and parts of books and research reports published, which mention noken. |

|Pekei, Titus Christoforus, Cermin Noken Papua, Pusat Studi Ekologi Papua, Jakarta, 2011 |

|Pekei, Titus Christoforus, Manusia Mee di Papua, Pusat Studi Ekologi Papua, Jakarta 2008, hal.123-125 |

|Rumbrawer, Magdalena, Dra, Noken Papua, Simbol Rahimi dan Rahmani, Jayapura 2011, SMA YPK Kotaraja. |

|Flassy, Don, AL, Noken, Tas Tradisional Papua Barat, Jayapura, 2011. |

|Walak, Stephanus Malak, Dr. Drs, Msi dan Likewati, Wa Ode, Entografi Suku Moi, Bogor 2011, Penerbit Buku Populer Ilmiah, PT.Sarana Komunikasi |

|Utama |

|Nafurbenan, Aloysius Y, Drs., Mengenal Peralatan Museum Tradisional Papua, Jayapura 2009, UPTD Taman Budaya Papua |

|Waluyo, Eko.b. Masyarakat Mukoko di lembah Balim Irian Jaya: Suatu Tinjauan Etnobotani, dalam Pembangunan Masyarakat Pedesaan: Suatu Telaah |

|Analitis Masyarakat Wamena Irian Jaya, LIPI, Pustaka Sinar Harapan, Jakarta 1994, p. 119-130 |

|Maryone, Rini, Religi Masa Lampau. Suku Dani di Kurula, Kapupaten Jayawijaya, Artikel dalam BPA, Vol. , No.1 November, Balai Arkeologi |

|Jayapura, Puslitbang Arkenas, Depbudpar 2005, p. 21-39. |

|Prasetyo, Bagyo dan Djami, Erlin NJ, Resistensi Budaya Neolitik pada Suku Ekagi di Kabupaten Paniai. Atikel dalam BPA, ibid, p 40-58 |

|Subardi, A. Tachier. Hutomo, Prioyulianto, Drs. M.Ed, dan Lamech, AP. Drs., Dampak Pembangunan Pariwisata terhadap Kehidupan Sosial Budaya |

|Masyarakat Pulau Biak dan Wamena, Provinsi Irian Jaya. Departemen Kebudayaan dan Pariwisata, Direktorat Jenderal Sejarah dan Nilai Tradisional,|

|Proyek Inventarisasi dan Pembinaan Nilai-nilai Budaya Irian Jaya, 1991/1992, p. 46-105. |

|Roembiak, Mientze D.E., Masyarakat Ngalum di Daerah Pegunungan Bintang. Dalam Koentjaraningrat. Irian Jaya Membangun Masyarakat Majemuk.. |

|Djambatan, P.T. Gramedia Pustaka Utama, Jakarta 1994, p. 313-333 |

|Syukur, Abdul, et al, Penyunting Radiawan, Harry, Pola Pengasuh Anak pada Masyarakat Pedesaan Kabupaten Jayawijaya, Provinsi Irian Jaya, Proyek|

|Inventarisasi dan Pembinaan Nilai-nilai Budaya Irian Jaya, 1989/1990 |

|Lamera, J dan Siregar, L, Masyarakat Bauzi Danau Bira, Mamberamo Tengah, dalam Koentjaraningrat, ibid. Hal 214-229 |

|William, U dan Brown, Jane E, Orang Mai Brat, Irian Jaya, penggerak dan pekerja Etnografi Irian Jaya, Panduan Sosial Budaya, Buku Satu, |

|Kelompok Peneliti Etnografi Irian Jaya, 1993, hal. 76-116 |

|Alua, Agus A, Suku Ekagi di Kabupaten Paniai, Etnografi Irian Jaya, ibid, p. 175-210. |

|Lin, J Tan Soe, Orang Muyu, dalam Penduduk Irian Barat, Koentjaraningrat dan Bachtiar, Harsja W, red.) Jakarta Penerbitan Universitas, p. |

|233-250. |

|7. Signature on behalf of the State(s) Party(ies) |

|The nomination should conclude with the original signature of the official empowered to sign it on behalf of the State Party, together with his|

|or her name, title and the date of submission. |

|In the case of multi-national nominations, the document should contain the name, title and signature of an official of each State Party |

|submitting the nomination. |

|Name: |

|Agung Laksono |

| |

|Title: |

|Coordinating Minister for People’s Welfare |

| |

|Date: |

|04 May 2012 (revised version) |

| |

|Signature: |

| |

| |

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