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"This article deals with Panji stories from Java, their original home. It begins with an examination of Panji as he appears in the Wangbaŋ Wideya, one of the earliest extant Panji stories, representing the culture of Majapahit and its successor states. It then goes on to survey a number of Panji compositions written by Pakubuwana IV, Sunan of Surakarta from 1788-1820, which reveal that Pakubuwana clearlyidentified with Panji, as opposed to say, Islamic models, or Western models, for the political realm possibly available at that time. The article goes on to look at the somewhat later writings of Yasadipura II (1756-1844) and Dipanagara, who led the 1825-1830 Java War against the Dutch. The former has a markedly bureaucratic, non-mythic approach to government. The latter does draw heavily on mythic validation, for instance from indigenous Javanese deities and from Islamic figures, but here too there is a notable lack of reference to Panji as an ideal. Panji theatre across Java and at the popular level is briefly surveyed, as is the extensive export of Panji stories to Malaysia, mainland Southeast Asia, and even possibly to Japan – which would suggest that they are far older than hitherto suspected."

"The Sama-Bajau, or Bajo diaspora, extends from the southern Philippines and Sabah (Malaysian Borneo) to the eastern part of Indonesia. The Indonesian Bajo, now scattered along the coasts of Sulawesi (Celebes) and East Kalimantan, the Eastern Lesser Sunda Islands and Maluku, were once mostly nomadic fishermen of the sea or ocean freight carriers. Today, the Bajo are almost all fishermen and settled. Their former and present ways of life made them favour intangible forms of culture: it is impossible to transport bulky artefacts when moving frequently by boat, or when living in stilt houses, very close to the sea or on a reef. It is therefore an intangible legacy that is the essence of the Bajo's culture. Sandro healers have a vast range of expertise that allows them to protect and heal people when they suffer from natural or supernatural diseases. On the other hand, music and especially oral literature are very rich. In addition to song and the pantun poetry contests, the most prestigous genre is the iko-iko, long epic songs that the Bajo consider to be historical rather than fictional narratives. The Bajo's intangible heritage is fragile, since it is based on oral transmission. In this article, I gave a description of this heritage, dividing it into two areas: the knowledge that allows them to "protect and heal" on the one hand, and to "distract and relax", on the other."