Dentate-stamped pottery is identified as one of the earliest types of Austronesian pottery found in Maritime Southeast Asia, the Mariana Islands in Micronesia, the Bismark Archipelago, and other islands in Melanesia. Lapita pottery in Melanesia is one of the most famous types of dentate-stamped pottery. Throughout Maritime Southeast Asia, however, this specific type of pottery has currently only been excavated from Northern Luzon in the Philippines with a few pieces reported from Sulawesi (Kamassi, Minanga Sipakko, and Mansiri) in Indonesia. The possible dates of dentate-stamped pottery in Northern Luzon might go back as early as Neolithic times, around 4000 years ago, while the exact dates of Sulawesi dentate-stamped pottery are unclear and might date from 3500 to 2000 years ago. In such a situation, the excavation we recently conducted at the Goa Topogaro Complex in Central Sulawesi uncovered considerable amounts of high-quality dentate-stamped pottery, but these are associated with the Early Metal age burials in cave and rock-shelter sites. In this article, we synthesize the significant outcomes from our archaeological findings, such Early Metal age burials and dentate-stamped pottery from the Topogaro 2 cave and Topogaro 7 rock shelter among the complex and discuss the possible continuation of dentate-stamped pottery tradition of the Early Metal age in Central Sulawesi and its meaning.

Government agencies in various countries use legal tools to conserve and manage tangible cultural heritage effectively. Laws, measures, and standards ensure operations adhere to conservation principles and maintain consistency. In Thailand, legal tools for protecting tangible cultural heritage have evolved over six decades, particularly under the Ancient Monuments Act. However, these tools are inefficient due to two critical issues. Firstly, there is a lack of comprehensive protection, inconsistent laws, and inadequate enforcement, especially for heritage of low or moderate value, privately owned, or outside protected areas. Secondly, implementation is highly fragmented, involving multiple agencies and resulting in complicated and disjointed operations. Amending each law individually is unlikely to be effective. One of the potential solutions is to create a primary law for the inclusive conservation and management of tangible cultural heritage. This law should harmonise and connect existing laws, addressing all types, values, and forms of tangible cultural heritage regardless of ownership. It is crucial to establish mechanisms that decentralise operations to local levels and encourage participation from various sectors. Moreover, developing conservation standards is essential to ensure the consistent use of these instruments.

The cultural identity of different ethnic groups is evident through various factors, particularly in traditional music. Therefore, studying folk music is crucial in identifying cultural and ethnic differences. This research focuses on the field investigation of the folk music of the Pa Ko and Ta Oi ethnic communities in Thua Thien-Hue province. The study confirms that the Pa Ko ethnic group has a unique folk music background, which is expressed through folk song genres, instrument systems, performance forms, and usage concepts. By comparing the musical characteristics of the Pa Ko people with those of the Ta Oi people in the same area, this report concludes that the former has its distinct musical culture. The research primarily uses qualitative research as methodology, particularly in-depth and participatory interviews with skilled, elderly artisans with good memory. The study results provide evidence that the Pa Ko and Ta Oi are not one ethnic group but two different groups. It is essential to emphasize that this report focuses on musical culture and not musicology. Its findings underscore the significance of folk music in understanding cultural and ethnic identities. Bản sắc văn hóa của các dân tộc khác nhau được thể hiện rõ qua nhiều yếu tố, đặc biệt là trong âm nhạc truyền thống. Vì vậy, nghiên cứu âm nhạc dân gian có ý nghĩa quan trọng trong việc xác định sự khác biệt về bản sắc văn hóa, dân tộc. Nghiên cứu này tập trung điều tra thực địa để làm rõ sự khác biệt về âm nhạc dân gian của cộng đồng dân tộc Pa Kô và Tà Ôi ở tỉnh Thừa Thiên-Huế. Nghiên cứu khẳng định dân tộc Pa Kô có nền tảng âm nhạc dân gian, được thể hiện qua các thể loại dân ca, hệ thống nhạc cụ, hình thức biểu diễn và quan niệm sử dụng. Bằng cách so sánh đặc điểm âm nhạc của người Pa Kô với đặc điểm âm nhạc của người Tà Ôi trong cùng khu vực, báo cáo này kết luận rằng người Pa Kô có văn hóa âm nhạc riêng biệt. Nghiên cứu chủ yếu sử dụng nghiên cứu định tính làm phương pháp chính, đặc biệt là phỏng vấn sâu và có sự tham gia của các nghệ nhân lớn tuổi, lành nghề và có trí nhớ tốt. Kết quả nghiên cứu cung cấp bằng chứng cho thấy người Pa Kô và Tà Ôi không phải là một tộc người mà là hai bản sắc khác nhau. Điều cần thiết là phải nhấn mạnh rằng báo cáo này tập trung vào văn hóa âm nhạc chứ không phải âm nhạc học. Những phát hiện này nhấn mạnh tầm quan trọng của âm nhạc dân gian trong nghiên cứu và phân biệt bản sắc văn hóa và dân tộc.

This paper deals with the concept of liveness and digital performance during Covid-19 through Dangdut performance. This paper originated because after the spread of the Covid-19 virus in March 2020, Dangdut could not be performed in its regular stages and several performances cancelled. Covid-19 impacted many kinds of performances, but Dangdut is highlighted because the performance stimulates the audience to respond by dancing on the stage and giving tips to the singer (sawer). The live performance creates ambiance, intimacy, and interactivity among the singers, musicians, and audiences. In short, liveness is essential in Dangdut performance. How do musicians sustain live, staged performances of Dangdut during Covid-19? What efforts did the musicians make? How does digital technology assist in the production of liveness for Dangdut? This paper will discuss what has been done by Dangdut actors in media streaming. To articulate the phenomenon, I referred to a debate about the liveness of live performance and live streaming from a performance studies perspective. This paper discusses how performers such as Ndarboy Genk, Guyon Waton, Denny Caknan, and OM Wawes tried to solve the liveness problem. These performances have the intention to enlighten the experience of the liveness in digital performance. These performances proved the resilience of Dangdut agents during the Covid-19. This paper will enrich the point of view of performance studies and popular music studies. Tulisan ini menyoal tentang liveness dan pertunjukan digital di masa Covid-19 melalui pertunjukan Dangdut. Tulisan ini terstimulasi pasca tersebarnya virus Covid-19 pada Maret 2020, Dangdut tidak dapat melakukan pementasan di panggung berkala dan banyak pertunjukan dibatalkan. Covid-19 terjadi dan berimplikasi kepada banyak jenis pertunjukan, tetapi saya menggarisbawahi Dangdut karena panggung Dangdut menstimulasi penonton untuk merespons, semisal berjoged di panggung dan memberi tips kepada penyanyi (sawer). Pertunjukan live mencipta ambiance, keintiman, dan interaktivitas antara penyanyi, musisi, dan penonton. Singkat kata, saya menyadari jika pada pertunjukan Dangdut perihal liveness menjadi esensial. Atas dasar itu, bagaimana musisi bertahan, mementaskan pertunjukan sepanjang Covid-19? Apa upaya yang dibuat oleh musisi? Bagaimana teknologi digital membantu dalam memproduksi liveness? Artikel ini akan menyelisik dan meneliti apa-apa saja yang telah dilakukan oleh agen Dangdut pada media tertayang. Untuk meneliti fenomena ini, Saya merujuk pada perdebatan mengenai liveness pada pertunjukan langsung atau pertunjukan tertaryang dari sudut pandang Performance Studies. Lebih lanjut, artikel ini mendiskusikan bagaimana musisi seperti Ndarboy Genk, Guyon Waton, Denny Caknan, dan OM Wawes mencoba meretas persoalan liveness pada dangdut. Pertunjukan-pertunjukan it memiliki intensi untuk mencerahkan pengalaman akan liveness pada pertunjukan digital. Pertunjukan-pertunjukan itu membuktikan kebertahanan dari agen Dangdut selama Covid-19. Dengan membongkar hal ini, artikel ini akan memperkaya sudut pandang Performance Studies dan kajian musik populer.

White, Joyce C. and Elizabeth G. Hamilton (editors). 2018. Ban Chiang, Northeast Thailand, Volume 2A: Background to the Study of the Metal Remains. University of Pennsylvania Museum of Archae¬ology and Anthropology, Philadelphia. 265 pages. White, Joyce C. and Elizabeth G. Hamilton (editors). 2018. Ban Chiang, Northeast Thailand, Volume 2B: Metals and Related Evidence from Ban Chiang, Ban Tong, Ban Phak Top, and Don Klang. University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia. 264 pages. White, Joyce C. and Elizabeth G. Hamilton (editors). 2019. Ban Chiang, Northeast Thailand, Volume 2C: The Metal Remains in Regional Context. University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia. 218 pages. White, Joyce C. and Elizabeth G. Hamilton (editors). 2021. Ban Chiang, Northeast Thailand, Volume 2D: Catalogs for Metals and Related Remains from Ban Chiang, Ban Tong, Ban Phak Top, and Don Klang. University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia. 312 pages.

This study focuses on the significance of Ulung Buayeh (Crocodile Mounds), ancient effigy mound sites which are the cultural heritage of the Lundayeh ethnic group. The researchers also examined the extent Ulung Buayeh as a catalyst for reinforcing land ownership and territorial expansion of the Lundayeh around 1700s (300 years ago). This article emphasizes the application of geospatial approach in identifying and analyzing Ulung Buayeh in the contexts of location, landscape, and heritage integration of the ancient earthen-effigy mound sites at Long Pasia and Long Mio in the district of Sipitang, Sabah, Malaysia. The surface mapping analysis through geographic information systems (GIS) produces a geospatial thematic map of Ulung Buayeh. Hence, the geospatial mapping of Ulung Buayeh can also be used as a spatial reference to promote Long Pasia as one of the archaeotourism destinations in the context of the conservation of the foremost ancient mound effigy site in Sabah and Malaysia. Kajian ini memberi perhatian penuh terhadap signifikasi tapak purba guar effigi Ulung Buayeh (crocodile mound) yang menjadi warisan dan budaya kepada etnik Lundayeh. Penyelidik turut meneliti sejauhmana peranan tapak Ulung Buayeh ini menjadi pemangkin kepada pengukuhan pemilikan tanah dan perluasan wilayah etnik Lundayeh. Artikel ini memberi fokus kepada pengaplikasian pendekatan geospatial dalam mengenal pasti dan menganalisis Ulung Buayeh dalam konteks pengintegrasian lokasi, landskap dan warisan bagi tapak guar tanah purba ini di kampung Long Pasia dan kampung Long Mio di daerah Sipitang, Sabah, Malaysia. Analisis pemetaan permukaan (surface analysis) menerusi aplikasi (GIS) digunakan untuk menghasilkan peta tematik geospatial Ulung Buayeh. Pemetaan geospatial Ulung Buayeh yang terhasil juga boleh dijadikan sebagai sumber rujukan untuk mempromosi Long Pasia sebagai salah satu destinasi arkeopelancongan dalam konteks pemuliharaan tapak tradisi guar effigi purba yang terulung di Sabah dan Malaysia.

This report presents a summary of introduction to the workshop and lecture series on cultural heritage and tourism organized by the authors with financial and logistic support from Silpakorn University’s Faculty of Archaeology. It provides a short description of workshop background, speakers and their abstracts as publicly disseminated on a webpage of the Department of Archaeology, Silpakorn University. รายงานนี้เป็นการสรุปเกี่ยวกับโครงการประชุมเชิงปฏิบัติการและชุดการบรรยายเกี่ยวกับการท่องเที่ยวมรดกวัฒนธรรม ซึ่งจัดเตรียมโดยผู้เขียนทั้งสาม ทั้งนี้โดยได้รับการสนับสนุนด้านเงินทุนและสถานที่จากคณะโบราณคดี มหาวิทยาลัยศิลปากร รายงานนี้นำเสนอที่มาหรือภูมิหลังของโครงการประชุมเชิงปฏิบัติการ วิทยากร และบทคัดย่อการบรรยายที่เผยแพร่ผ่านเว็บเพจของภาควิชาโบราณคดี คณะโบราณคดี มหาวิทยาลัยศิลปากร

Among public health researchers two ethical concerns have recently stimulated discussion: “overresearch” and “ethics dumping”. Over-research refers to a situation where the host community are not benefiting from research activity conducted by outsiders. Ethics dumping refers to doing research deemed unethical in a researcher’s home country in a foreign setting with laxer ethical rules. We briefly review the origins of these terms and explore their relevance for archaeology, with special consideration of Southeast Asia. To minimize over-research and ethics dumping in archaeology we propose some modest, specific activities that should be possible for all archaeologists to do to increase the benefit of their research to local communities, and to ensure their work is consistent with international ethical standards.Tóm tắt: “Trong những điểm chung về tính lành mạnh của các nhà nghiên cứu, hai mối quan tâm về mặt đạo đức gần đây đã thúc đẩy thảo luận về: “nghiên cứu mang tính lối mòn và sự tha hóa về mặt đạo đức”. Nghiên cứu mang tính lối mòn ám chỉ tới một trạng thái mà cộng đồng sở tại không được hưởng lợi từ các hoạt động nghiên cứu đã tiến hành bởi người ngoài. Sự tha hóa về đạo đức ám chỉ tới việc thực hiện nghiên cứu phi đạo đức không theo một số quy tắc đạo đức ở chính quê hương của mỗi nhà nghiên cứu khi thực hiện nghiên cứu ở bên ngoài quốc gia của họ vì các quy tắc lỏng lẻo về mặt đạo đức. Chúng tôi sẽ xem xét ngắn gọn một số căn nguyên của các thuật ngữ này và tìm hiểu sự liên quan của chúng đối với khảo cổ học, bằng cách xem xét cụ thể ở Đông Nam Á. Để có thể giảm thiểu việc nghiên cứu mang tính lối mòn và sự tha hóa về mặt đạo đức, chúng tôi đề xuất những hành động cụ thể và trong chừng mực mà các nhà khảo cổ học có thể thực hiện nhằm gia tăng lợi ích nghiên cứu của họ đối với các cộng đồng sở tại, và cũng là để củng cố việc làm của họ sao cho phù hợp với các tiêu chuẩn đạo đức quốc tế.မဆီေလျာ်ေသာ သုေတတန (over research) ဟုဆိုလိုရာတွင် သုေတသနြပလုပ်ေသာ ိုင်ငံ (သို) ေနရာသည် ၎င်းသုေတသန၏ အကျိးေကျးဇူးအား ခံစားခွင့်မရှိဘဲ သုေတသနလာေရာက်ြပလုပ် ေသာ အဖွဲအစည်းမှ အကျိးအြမတ်အားလံုးကို ရရှိခံစားြခင်းကို ဆိုလိုပါသည်။ မသင့်ေလျာ်ေသာ ကျင့်ဝတ်များ (ethics dumping) ဆိုသည်မှာ ိုင်ငံတကာကျင့်ဝတ်များကို ေကျာေထာက်ေနာက်ခံထား၍ သုေတသနြပလုပ်ရာတွင် ၎င်းတိုထက် ေလျာ့နည်းေသာ ကျင့်ဝတ်များှင့် သုေတသန လက်ခံလုပ် ေဆာင်ေသာိုင်ငံတွင် ကျင့်သံုးြခင်းဟု မှတ်ယူိုင်ပါသည်။ အေရှေတာင်အာရှိုင်ငံများကို အထူးထည့် သွင်းစ်းစားြခင်းအားြဖင့် က်ုပ်တိုသည် အထက်ေဖာ်ြပခဲ့ေသာ အေကာင်းအရာများ၏ မူလရင်းြမစ်ှင့် ၎င်းတိုှင့် ဆက်စပ်ေနေသာ ေရှးေဟာင်းသုေတသနလုပ်ငန်းရပ်များကို အကျ်းချံးြပန်လည် သံုးသပ် ထားပါသည်။ ေရှးေဟာင်းသုေတသနတွင် မဆီေလျာ်ေသာ သုေတသန ှင့် မသင့်ေလျာ်ေသာ ကျင့်ဝတ် များအတွက် ေခတ်မီ၍ တိကျေသာ လုပ်ေဆာင်ချက်များကို အကျ်းချပ်၍ တင်ြပလိုက်ပါသည်။ ေခတ်မီ၍ တိကျေသာ လုပ်ေဆာင်ချက်များကို ဆိုလိုရာတွင် ေရှးေဟာင်းသုေတသနပညာရှင်အားလံုးတို သည် သုေတသနြပလုပ်ေသာေဒသအတွင်း အကျိးစီးပွါးတိုးတက်မကို အမှန်တကယ် အေထာက်အကူ ြဖစ်ေစရန် ှင့် ၎င်းတို၏ သုေတသနလုပ်ငန်းများသည် ိုင်ငံတကာ ကျင့်ဝတ်များှင့်အညီ တသတ်မတ် တည်း လုပ်ေဆာင်ရန် ရည်ရွယ်ပါသည်။

From the beginning of the Bagan period (11th century CE), Buddha’s Parinirvāṇa Scene has been depicted on wall paintings in religious buildings and hollow vaulted temples at various places of middle Myanmar. It is found that wall paintings based on the Maha Parinirvāṇa Sutta vary in layout and size from period to period with Buddhist literature: just as single-scenes and small or large wall paintings were depicted during the Bagan period so also were depictions of multiple scenes made in the late Konbaung Period. Further additions were introduced in depictions of Buddha’s Parinirvāṇa in the late Bagan Period. When studying the Buddha’s Parinirvāṇa scene on wall paintings, the depicting styles and colour changed from period to period. Depending on the colour, the periods can be interpreted definitely. Wall paintings depicting the Parinirvāṇa Sutta at temples located in Bagan and middle Myanmar regions are compared among themselves to show differences and similarities. Accounts of the purported events surrounding the Buddha's own Parinirvāṇa are found in a wide range of Buddhist countries of South East Asia. This paper concludes that the hypothesis is viable, with comparisons with the wall paintings depicting Buddha’s Parinirvāṇa Scene in Myanmar and how the style changed and transformed.မြန်ြာနှိိုင်ငံအလယ်ပှိိုင်ေးဆနရာအနှံှံ့အမပာေးတွင် ပိုဂံဆခတ်အဆစာပှိိုင်ေးကာလ(၁၁ရာစို)ြှစ၍ ဗိုဒ္ဓ၏ပရှိနှိဗဗာန်စံခန်ေးကှိို ဘာသာ ဆရေး ှိိုင်ရာ အဆ ာက်အဦေးအြ ှိြုေးြ ှိြုေးနှငဲ့် ဂူဘိုရာေးဝတ်မပြုဆက ာင်ေးြ ာေး၏နံရံြ ာေးတွင် သရိုပ်ဆ ာ်ဆရေး ွွဲခွဲဲ့ကကသည်။ ြဟာပရှိ နှိဗဗာနသိုတတံကှိို အဆမခခံဆသာ နံရံဆ ေးဆရေးပန်ေးခ ျီြ ာေး၏ အခင်ေးအက င်ေး၊ အရွယ်အစာေးြ ာေးသည် ဆခတ်ကာလအလှိိုက် ကွွဲမပာေး မခာေးန ေးြှိုရှှိပပျီေး ပိုဂံဆခတ်ကာလက ဇာတ်ကွက်တစ်ကွက်ကှိိုသာ အရွယ်အစာေးအာေးမ ငဲ့် ကကျီေးသည်မ စ်ဆစ၊ ငယ်သည်မ စ်ဆစ နံရံဆ ေးဆရေးပန်ေးခ ျီတွင် သရိုပ်ဆ ာ်ဆရေး ွွဲဆလဲ့ရှှိပပျီေး ကိုန်ေးဆဘာင်ဆခတ်ဆနှ င်ေးပှိိုင်ေးကာလတွင် ဇာတ်ကွက်တစ်ကွက်ထက် ပှိိုြှိို ဆရေး ွွဲလာသည်ကှိို ဆတွွေ့ရှှိရပါသည်။ ဗိုဒ္ဓ၏ပရှိနှိဗဗာန်မပြုပံိုဇာတ်ကွက်အာေး သရိုပ်ဆ ာ်ဆရေး ွွဲရာတွင် ပိုဂံဆခတ်ဆနှ င်ေးပှိိုင်ေးကာ လ၌ ထပ်ြံထညဲ့်သွင်ေးြှိုြ ာေးကှိို မပြုလိုပ်လာကကသည်။ နံရံဆ ေးဆရေးပန်ေးခ ျီြှ ဗိုဒ္ဓ၏ပရှိနှိဗဗာန်ဇာတ်ကွက်အာေးဆလဲ့လာသညဲ့်အခါ သရိုပ်ဆ ာ်ဆရေး ွွဲြှိုပံိုစံြ ာေးနှငဲ့် ဆ ေးဆရာင်မခယ်သြှိုြ ာေးြှာ ဆခတ်ကာလအလှိိုက် ဆမပာင်ေးလွဲလာကကသည်။ ဆ ေးဆရာင်မခယ်သ ြှိုအဆပေါ်ြူတည်၍ ဆခတ်ကာလကှိို အတှိအက ဆ ာ်မပနှိိုင်သည်။ ပိုဂံနှငဲ့်မြန်ြာနှိိုင်ငံအလယ်ပှိိုင်ေးြှ ဘာသာဆရေးအဆ ာက်အဦေး ြ ာေးနှငဲ့် ဂူဘိုရာေးဝတ်မပြုဆက ာင်ေးြ ာေးတွင်ရှှိဆသာ နံရံဆ ေးဆရေးပန်ေးခ ျီြ ာေး၌ ပရှိနှိဗဗာနသိုတတံအာေး သရိုပ်ဆ ာ်ဆရေး ွွဲပံိုြ ာေးအကကာေး ကွွဲမပာေးမခာေးန ေးြှို၊ တူညျီြှိုတှိိုှံ့အာေး မပသနှိိုင်ရန်နှိှိုင်ေးယှဉ်ဆလဲ့လာထာေးပါသည်။ အဆရှွေ့ဆတာင်အာရှြှ ဗိုဒ္ဓဘာသာဝင်နှိိုင်ငံြ ာေးအ ကကာေး ဗိုဒ္ဓ၏ပရှိနှိဗဗာန်စံခန်ေးနှငဲ့်စပ်လ ဉ်ေးသညဲ့်ဆ ာ်မပခ က်ြ ာေးကှိို က ယ်မပနှံ့်စွာဆတွွေ့ရှှိရဆပသည်။ ယခိုစာတြ်ေးသည် အဆရှွေ့ ဆတာင်အာရှနှိိုင်ငံြ ာေးြှ နံရံဆ ေးဆရေးပန်ေးခ ျီြ ာေးတွင် သရိုပ်ဆ ာ်ဆရေး ွွဲထာေးဆသာ ပရှိနှိဗဗာန်စံခန်ေးနှငဲ့်ထှိိုင်ေးနှိိုင်ငံတှိိုှံ့ြှသရိုပ်ဆ ာ် ပံိုြ ာေးကှိို နှိှိုင်ေးယှဉ်ဆလဲ့လာြှိုြ ာေး မပြုလိုပ်နှိိုင်သည်ဟူဆသာ အယူအ ကှိို ဆကာက်ခ က်ခ ထာေးပါသည်။

The archaeology of Jakarta is a multi-layered artefact compounded with thin period separations. In the geographical sphere of the “greater Jakarta area”, its roots start from the Neolithic with the discovery of Buni tradition pottery. The Buni area stretched along the north coast of west Java towards the interior to the south. This geographical sphere then became the oldest kingdom in the archipelago, Tarumanagara, an Indian-influenced Hindu Kingdom. A series of different ancient kingdoms ruled until the arrival of the Europeans. First, the Portuguese signed a treaty with Sunda (a Hindu Kingdom and ruler of the port of Kalapa) to defend their territory from Cirebon (an Islamic Kingdom in the eastern part of west java). Kalapa became a prized area that was fought over until the Dutch East India Company (Vereenigde Oostindische Compagnie, or VOC), led by J. P. Coen, burnt it down and built Batavia. Kalapa, as one of the few main ports of Sunda, historically welcomed people (with or without their will) from different areas. The influx of multicultural influence through this port continued when Batavia became the capital of the VOC, and then for the Netherlands Indies. The area grew into what is now known as the greater area of Jakarta. Although this greater area is now delineated into three different provinces, the cultural span of the area is still the same. A version of this paper was delivered as part of SEAMEO SPAFA’s Capital’s Archaeology Lecture Series on 23 May 2017 at the Siam Society, Bangkok. This paper has been peer reviewed. The lecture can be viewed here: http://bit.ly/2imigGG