The Eagle Dance is a Mongolian folk dance expressing the movements of a white eagle flying across the sky. Dancers raise one leg and flap their arms, imitating eagles flapping their wings. They also perform powerful movements to dynamic music. The basic move of raising both arms while moving the shoulders up and down originates from the Mongolian Biyelgee dance.\n\nThe white eagle is known to be the totem bird of Genghis Khan, founder of the Mongol Empire. The Eagle Dance represents the bravery of 13th century Mongolian warriors, and is a permanent fixture in the repertoire performed at major national events.\n\nCharacteristics:\n∙Dance mimicking the movements of animals\n\nPerformed by Mongolian National Song and Dance Academic Ensemble\nDirected by Tseden-Ish Altangerel\nChoreopraphed by Davaakhuu Altangerel

The Eagle Dance is a Mongolian folk dance expressing the movements of a white eagle flying across the sky. Dancers raise one leg and flap their arms, imitating eagles flapping their wings. They also perform powerful movements to dynamic music. The basic move of raising both arms while moving the shoulders up and down originates from the Mongolian Biyelgee dance.\n\nThe white eagle is known to be the totem bird of Genghis Khan, founder of the Mongol Empire. The Eagle Dance represents the bravery of 13th century Mongolian warriors, and is a permanent fixture in the repertoire performed at major national events.\n\nCharacteristics:\n∙Dance mimicking the movements of animals\n\nPerformed by Mongolian National Song and Dance Academic Ensemble\nDirected by Tseden-Ish Altangerel\nChoreopraphed by Davaakhuu Altangerel

The Eagle Dance is a Mongolian folk dance expressing the movements of a white eagle flying across the sky. Dancers raise one leg and flap their arms, imitating eagles flapping their wings. They also perform powerful movements to dynamic music. The basic move of raising both arms while moving the shoulders up and down originates from the Mongolian Biyelgee dance.\n\nThe white eagle is known to be the totem bird of Genghis Khan, founder of the Mongol Empire. The Eagle Dance represents the bravery of 13th century Mongolian warriors, and is a permanent fixture in the repertoire performed at major national events.\n\nCharacteristics:\n∙Dance mimicking the movements of animals\n\nPerformed by Mongolian National Song and Dance Academic Ensemble\nDirected by Tseden-Ish Altangerel\nChoreopraphed by Davaakhuu Altangerel

The Eagle Dance is a Mongolian folk dance expressing the movements of a white eagle flying across the sky. Dancers raise one leg and flap their arms, imitating eagles flapping their wings. They also perform powerful movements to dynamic music. The basic move of raising both arms while moving the shoulders up and down originates from the Mongolian Biyelgee dance.\n\nThe white eagle is known to be the totem bird of Genghis Khan, founder of the Mongol Empire. The Eagle Dance represents the bravery of 13th century Mongolian warriors, and is a permanent fixture in the repertoire performed at major national events.\n\nCharacteristics:\n∙Dance mimicking the movements of animals\n\nPerformed by Mongolian National Song and Dance Academic Ensemble\nDirected by Tseden-Ish Altangerel\nChoreopraphed by Davaakhuu Altangerel

▶ Play Video 4. A Sound for the Spirits The Buklog of the Subanons\nThis is a shortened version of the Travel Time episode “A Subanon Celebration,” which was first aired on Filipino television on March 21, 1996. This episode has been modified from its original format.\n\nAnimals were offered in the context of the Subanon cultural ritual.\n\nThe Subanon or Subanun people of the upstream may be found on the western Peninsula. The population core areas are in Katipunan. The known subgroups parallel the linguistic variations and micro-adaptations to social and physical environment and comprise: (1) Misamis, (2) Lapuyan, (3) Sindangan, (4) Tuboy, and (5) Salug.\n\nThe cultural and technological adaptation is upland riverine. They practice swidden cultivation on mountain slopes. The traditional settlement pattern is highly dispersed with a few residential structures on top of ridges near potable water sources. The houses are placed adjacent to cultivated fields. They favor locations near springs where water gushes out of rocks over contiguous to streams.\n\nRice is the preferred food crop, but fields are also rotated and intercropped, planted with corn, sweet potato, and cassava. Land problems and soil degradation have forced some of the people to recourse to wet rice agriculture where the topography allows. Metal craft and backstrap weaving are practiced. They have maintained trade with coastal peoples for centuries, as indicated by the presence of Asian stone and ceramic trade wares. Present-day Subanon are usually nonaggressive. There are indications that in the past, the people were required to provide a “soul companion” for an important deceased relative.\n\nUnique to the Subanon is their set of rituals, the buklog, the main feature of which is a huge dancing platform (buklogan). This structure is raised some 10 to 18 feet high and consists of a highly resilient platform supported at the corners by upright posts. A long pole is passed through the middle of the platform and extends upwards like a maypole. Below it is a short thick hollowed log that lies above a trench filled with empty jars functioning as resonating chambers. The pole rises and falls when dancers rhythmically bounce on the platform. The booming sound invites people to come and join in the ritual and festival. There is feasting, wining, and dancing lasting for days, with as many as two hundred people dancing on the buklogan continuously, day and night.\n\nThe ritual consists of a complex set of rites performed before the culminating event, usually near waterways, and which serve to propitiate spirits. The buklog is a prestige ritual that has a multitude of functions, such as celebrating well- being and a good harvest, and giving thanks to appease spirits after an illness. It may also honor personalities, welcome back homecomers, or praise a new timuay (leader). Finally, it is held to pay respects to the spirits of the dead, for the final sending of the spirit of the ancestor and the death anniversary of a grandparent.\n\nThe Subanen form a subgroup and are related to the Subanon but are concentrated in Siocon, Zamboanga del Norte.

With the 2003 UNESCO Convention adopted as a normative tool and essentially a basis to build ICH international cooperation, further attention was driven to a question of building functioning and sustainable ICH networks. In most cases networks do have more or less defined rules of the game, to which all the members agree when joining and acting as members. In this regard, the purpose a network was created for, its mission and the objectives set are the primary considerations. We will see that some networks tend to have more clearly identified obligations and duties for the members while others are more flexible and offer higher degree of freedom. Joining a network on the other had offer certain benefits that differ depending on the nature of a network, and its objectives. Researchers identify three types of networking: operational, personal, and strategic. While operational networks are normally employed to have the job done efficiently, personal networks aim at personal and professional development through external contacts and are oriented to future potential interests. Strategic networks in turn are both external and internal and are needed to identify future priorities and challenges and making stakeholders support them. Although operational, personal, and strategic networks are not mutually exclusive, to maximize efficiency effective leaders learn employing networks for strategic purposes.

Alisher Ikramov reviews information collected through a survey funded by ICHCAP. While his work primarily reviews ICH festivals, he is also able to gain insights into ways that networks can promote ICH along the Silk Roads. Looking at the importance of local communities and the popularity of such festivals locally, there is concern about a lack of a network to encourage larger tourist attendance. However, there are feelings that festivals do not authentically represent local traditions and products. Therefore, this could lead to an undesirable level of commoditization and as a result lower the quality of the event.

UNESCO has ten subcategories of human communities and networks, but there are two patterns of human civilizations—sedentary and nomadic communities. Difficulty with archaeologists and historians to explore and discover civilizational heritage information. Nomadic communities served as an ancient networking system, bridging sedentary communities with cultural and technological information. There is a necessity of a network approach on the discovery, excavation, preservation, and public opening of Silk Roads intangible cultural heritages through a singular project hub—namely through ICHCAP. Examples of existing projects include the Caravanserai projects by UNESCO and National Geographic, which focus on tangible heritage along the Silk Roads without considering cultural interconnections and influences. A Korean case is the KBS six-episode documentary series on the origin, spreading and localization of noodle cuisine in Eurasian communities. Another networking case currently under way is the development of series on Silk Roads martial arts, dance, and play through Korea, Japan, China, Mongolia, Kazakhstan, Uzbekistan, and Iran.

Intangible cultural heritage (ICH) is transnational in nature. It is necessary to spread the perception that ICH transcends geographical spaces and national borders, creating dynamic relations, connectedness, and continuity, which is why it is a timeless bearer of cultural diversity, the foundation of the heritage of humanity. However, as the modern structure of nation-state determines the boundaries of culture with national borders, forming the concept of “culture within the country”, subsequently led to the perception that the ownership of culture belongs to the state.\n\nThe concept of exclusive ownership of culture is often controversial in the UNESCO listing process, particularly in instances where cultural heritage and cultural domains have been shared for a long time by two or more nation-states. Such conflicts lead to excessive competition for nomination, overshadowing UNESCO’s fundamental purpose of contributing to peace and security in the world by promoting collaboration among nations, as well as the very spirit of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage that promotes international cooperation and assistance in the safeguarding of ICH as a matter of general interest to humanity.\n\nConsequently, UNESCO encourages multinational inscriptions of shared intangible cultural heritage to promote regional cooperation and international safeguarding activities, preventing conflicts among countries and coping with already existing ones. By emphasizing joint nominations of shared ICH, UNESCO revised its implementation guidelines three times to deal with conflicts between countries due to the cultural property rights. In addition, States Parties are encouraged to develop networks among relevant communities, experts, professional centres, and research institutes, particularly with regard to their ICH, to cooperate at the sub-regional and regional levels.\n\nAt the 13th Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage held in the Republic of Mauritius in November 2018, Traditional Korean Wrestling was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity as the first joint designation by the Democratic People’s Republic of Korea and Republic of Korea. This milestone in the life of the Convention demonstrates that ICH contributes to the peace-building, reconciliation, mutual understanding, and solidarity among peoples. Indeed, only when acknowledging that shared cultural values are empowering characteristics of ICH, the true perspective of the unifying agent of the cultural diversity can be achieved, and that it is the cornerstone of reaching peace among nations.\n\nCountries in the Asia Pacific region are deeply connected by a long history of interactions, exchanges, flows of people, goods, and ideas that have shaped shared values, practices, and traditions. Having a balanced view, advocating for cultural diversity, and recognizing the commonalities among individuals, communities, and countries as a strength are virtuous tenets in the present time.\n\nIn this regard, APHEN-ICH Secretariat, ICHCAP, and UNESCO Bangkok Office are inviting the APHEN-ICH member institutes and public to this seminar under the theme of Diversity and Distinctiveness: Looking into the Shared ICH in the Asia-Pacific, to re-assess that while fragile, intangible cultural heritage is an important factor in maintaining cultural diversity, connecting bounds, and enhancing international dialogue and peace.

On 12 and 13 November 2020, ICHCAP and the ICH NGO Forum virtually held the 2020 ICH NGO Conference entitled “ICH and Resilience in Crisis.” The fifteen participants, including eleven selected presenters from ten countries around the world, discussed various cases and activities of each country applied under the Corona-era, and proposed solidarity for the resilience of ICH for a ‘New Normal.’\n\nSession 1: In the Vortex: COVID-19 Era, Roles of NGOs to Safeguard ICH\n\nSpecial Lecture 1: 'Resilience System Analysis' by Roberto Martinez Yllescas, Organization for Economic Co-operation and Development (OECD) in Mexico\n1. 'Uncovering the veil of immaterial cultural heritage towards and autonomous management of well-being as well as cultural and territorial preservation' by Carolina Bermúdez, Fundación Etnollano\n2. 'Holistic Development Model of Community-Based Intangible Cultural Heritage of Yuen Long District in Hong Kong of China' by Kai-kwong Choi, Life Encouraging Fund \n3. 'Indigenous Knowledge System as a vector in combating COVID-19' by Allington Ndlovu, Amagugu International Heritage Centre\n4. 'Enlivening Dyeing Tradition and ICH: The initiative of ARHI in North East of India' by Dibya Jyoti Borah, President, ARHI\n\nSession 2: Homo Ludens vs. Home Ludens: Changed Features COVID-19 Brought\n\n1. 'The Popular Reaction to COVID-19 from the Intangible Cultural Heritage among Member Cities of the ICCN' by Julio Nacher, ICCN Secretariat, Algemesi, Spain\n2. 'Innovation for Arts and Cultural Education Amid a Pandemic' by Jeff M. Poulin, Creative Generation\n3. 'Promoting Heritage Education through Intangible Cultural Heritage in the Kalasha Valleys of Pakistan' by Ghiasuddin Pir & Meeza Ubaid, THAAP\n4. 'Shifting to Online Activities: Digital Divide among the NGOs and ICH Communities in Korea' by Hanhee Hahm CICS\n\nSession 3: Consilience: Prototype vs. Archetype for Educational Source\n\nSpecial Lecture 2: 'Geographical imbalance: the challenge of getting a more balanced representation of accredited non-governmental organizations under the 2003 Convention' by Matti Hakamäki, Finnish Folk Music Institute\n1. 'Crafting a Post Covid-19 World: Building Greater Resilience in the Crafts Sector through Strengthening Ties with its Community’s Cultural System' by Joseph Lo, World Crafts Council International\n2. 'Arts and Influence: Untangling Corporate Engagement in the Cultural Sector' by Nicholas Pozek, Asian Legal Programs, Columbia University\n3. 'ICH in the South-Western Alps: Empowering Communities through Youth Education on Nature and Cultural Practices' by Alessio Re & Giulia Avanza, Santagata Foundation for the Economy of Culture\n\n

Southeast Asia ICH Video Documentary (Thailand)\n\nThe environment surrounding intangible cultural heritage (ICH) is changing rapidly in the face of waves of rapid urbanization and globalization. In the face of such changes, documenting actual scenes of ICH in video form presents one of the most effective ways of identifying trends in ongoing developments and raising the profile of ICH. However, achieving this requires robust support and coordinated efforts due to the relative inadequacy of the conditions for producing such documentary material in the Asia-Pacific region.\n\nThe International Information and Networking Centre for Intangible Cultural Heritage in the Asia-Pacific Region under the auspices of UNESCO (ICHCAP) shines a light on the ICH of Asia-Pacific and introduces its value to the public through video projects depicting ICH. ICHCAP conducts joint projects with member states to portray real-life scenes of ICH alongside experts, communities, NGOs, and other stakeholders in various countries. As a result, it has produced fifty videos on the ICH of Central Asia through the phase-one joint project on Central Asia and an additional fifty videos through the phase-two video project on the ICH of Southeast Asia. These videos are being screened through broadcasting companies and at film festivals in each country, in addition to distribution via YouTube and other \nchannels. \n\nVideos represent the most accurate method of capturing ICH as it exists in the real world, as well as being effective tools for communicating with the public. ICHCAP will endeavor to continue vividly documenting the scenes of ICH that are hidden across the Asia-Pacific region with the aim of raising the profile of ICH elements as treasures of humanity and introducing them to the public. \n\nThis collection includes 10 ICH videos produced by the Thammasat University in collaboration with ICHCAP.

Southeast Asia ICH Video Documentary (Vietnam)\n\nThe environment surrounding intangible cultural heritage (ICH) is changing rapidly in the face of waves of rapid urbanization and globalization. In the face of such changes, documenting actual scenes of ICH in video form presents one of the most effective ways of identifying trends in ongoing developments and raising the profile of ICH. However, achieving this requires robust support and coordinated efforts due to the relative inadequacy of the conditions for producing such documentary material in the Asia-Pacific region.\n\nThe International Information and Networking Centre for Intangible Cultural Heritage in the Asia-Pacific Region under the auspices of UNESCO (ICHCAP) shines a light on the ICH of Asia-Pacific and introduces its value to the public through video projects depicting ICH. ICHCAP conducts joint projects with member states to portray real-life scenes of ICH alongside experts, communities, NGOs, and other stakeholders in various countries. As a result, it has produced fifty videos on the ICH of Central Asia through the phase-one joint project on Central Asia and an additional fifty videos through the phase-two video project on the ICH of Southeast Asia. These videos are being screened through broadcasting companies and at film festivals in each country, in addition to distribution via YouTube and other\nchannels.\n\nVideos represent the most accurate method of capturing ICH as it exists in the real world, as well as being effective tools for communicating with the public. ICHCAP will endeavor to continue vividly documenting the scenes of ICH that are hidden across the Asia-Pacific region with the aim of raising the profile of ICH elements as treasures of humanity and introducing them to the public.\n\nThis collection includes 10 ICH videos produced by the Vietnam National Institute of Culture and Arts Studies (VICAS) in collaboration with ICHCAP.

Uzbekistan in Central Asia is mostly grassland and desert, and much of its population is nomadic. However, there are also several oasis regions where people have settled into agricultural lifestyles. Uzbekistan used to be a strategic point in the Silk Road where the cultures of East and West met. There are several Kazakh and Tajik groups living in Uzbekistan and its borders are open to traders and nomads. Uzbeks love to sing and dance. Local folk performance groups called ensembles are a long standing tradition in Uzbekistan and lead all festivals and events. They compile and edit traditional folk songs and instrumental music to stage song and dance performances. The Boysun Festival is held annually in Boysun City, Southeastern Uzbekistan, and ensembles from all across the nation participate.\n\nTo hear the unadulterated versions of Uzbek folk songs, one has to ride a donkey into remote mountain villages. The mountains offer beautiful scenery and warm hospitality on top of humble folk songs. Boysun district in Uzbekistan is an example of such a mountainous region.\n\nA noteworthy characteristic of Uzbek folk songs is the large number of children’s songs. The children of Uzbekistan still sing as many children’s songs as we used to in the past. Another important genre of Uzbek folk music is the grand epic song sung by professional epic singers called bakhshi.

CD3_SUFI TRADITIONS OF NORTH INDIA\n\nQawwali is a musical genre that shares general traits with the light classical music of North India and Pakistan but distinguishes itself by its religious function. The term Qawwali applies both to the musical genre and to the occasion of its performance, the devotional assembly of Islamic mysticism - or Sufism - in India and Pakistan. The practice of Qawwali extends throughout Muslim centers of the Indian subcontinent, but its roots are North Indian. Qawwali music is performed by qawwals, professional musicians who perform in groups led by one or two solo singers. Qawwals present mystical poetry in Persian, Hindi, and Urdu, alternating solo and group passages characterized by repetition and improvisation. Handclapping and drumming on the barrel-shaped dholak accompany the singers, and a small portable harmonium played by the lead singer highlights the song’s melody. Amir Khusro Dehlavi of the Chishti order of Sufis is credited with fusing the Persian, Arabic, Turkish, and Indian musical traditions in the late-thirteenth century in India to create Qawwali as it is known today. The word Sama is often still used in Central Asia and Turkey to refer to forms very similar to Qawwali, while in India, Pakistan and Bangladesh, the formal name used for a session of Qawwali is Mehfil-e-Sama.\n\nQawwali is performed at the dargah, the shrines of Sufi saints, as well as in Sufi mehfils, which are commissioned performances. The structure and order of the songs vary in both these contexts. As will be seen, in many forms of Qawwali, an object of love, such as a god or a husband or wife, is portrayed and worshipped. Qawwali was popularized by Nusrat Fateh Ali Khan, a Pakistani performer. And it has started to enter mainstream popular music thanks to the recent public interest in Sufi music. It is thus no longer purely devotional. There are many silsilas (orders) of Sufism and hence many forms of Qawwali. The recordings in this album are mainly of the Chishtiya silsila – the followers of the Sufi Saint Khwaja Moinuddin Chishti. Nizamuddin Auliya, also a Sufi saint, was his follower. The texts were written by Amir Khusrau and contain many references to these saints. This Qawwali party consists of seven or eight members. The group joins as a chorus and claps to add percussion. These recordings were made at Sufi shrines in the late 1970s by Regula Qureshi, one of the most famous scholars of this genre. Since they were recorded in a crowded area on the field, the tracks have disturbances and ambient noise. However, as recordings from an actual authentic context, they carry a lot of value.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

Audio and Video Materials Collected from the Onsite Survey in the Ferghana Valley_2012 Uzbekistan-ICHCAP Joint Cooperation Project of Producing Digital Contents on ICH\n\nThe glorious intangible cultural heritage (ICH) of Ferghana Valley encompassing the state of Ferghana, Andijion, and Namangan in Uzbekistan includes oral traditional, performing arts, traditional rites and festive events, and traditional crafts. However, this heritage is largely unknown to the public in the nation and abroad, and it is fading out even more rapidly due to the young generation’s lack of interest.\n\nSince 2011, the four Central Asian countries, including Uzbekistan, have been implementing a three-year project, Facilitating ICH Inventory-Making by Using Online Tools for ICH Safeguarding in the Central Asian Region as a Central Asia–ICHCAP cooperative project. In the framework of the project, the countries have collected ICH information and tried to build an online system for managing the collected information.\n\nIn Uzbekistan, the Republican Scientific and Methodological Centre of Folk Art, under the Ministry of Culture and Sports of the Republic of Uzbekistan, in collaboration with the National Commission of the Republic of Uzbekistan for UNESCO, implemented the three-year project. They collected information on ICH elements in the Ferghana Valley (Andijan, Namangan, and Ferghana regions), Zarafshan Oasis and Southern Uzbekistan (Jizzakh, Samarkand, Kashkadarya, and Surkhandarya regions), and the Republic of Karakalpakstan (Navoi, Bukhara, and Khoresm regions) through onsite surveys from 2012 to 2014.\n\nIn 2012 when the first onsite survey was concluded, Uzbekistan and ICHCAP selected representative materials among collected videos, audios, and photos on ICH elements and ICH bearers, and compiled the materials as a ten-CD/DVD collection. Also, booklets in English, Uzbek, and Korean were made to spread related information to a wider audience.\n\nFerghana Valley is also home to Tajikistan, Uighers, and Turkistan. In the other words, different traditions co-exist in the same place. ‘Katta Ashula’, which integrates arts, songs, music, and epics, is one Uzbek cultural heritage representing the identities of the diverse people live in the valley\n\nThe collection could preserve the disappeared and disconnected ICH and encourage increased mutual understanding and communication by spreading the information widely from the experts to the people.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

The implementation of the Mongolia?ICHCAP Joint Project of “ICH Documentation Workshop and Pilot Filming” in Mongolia has been carried out from May to August, in 2013, with collaborative efforts of UNESCO Accredited NGO in Mongolia ? Foundation for the Protection of Natural and Cultural Heritage (FPNCH) and International Information and Networking Centre for Intangible Cultural Heritage in the Asia-Pacific Region (ICHCAP).\n\nThis Joint Project has been initiated with regards to the i) lack of capacity in Mongolia in the professional experiences and expertise of ICH audio-visual documentation and production of films and documentaries utilizing the latest technologies and methodologies, and involvement of documentation experts and ICH experts to work together, and ii) based on the results of and the continuation of the joint efforts to safeguard the intangible cultural heritage, efforts which took place between 2009 and 2012, with aims to improve the legal system to safeguard ICH, to safeguard, restore and digitalize the ICH using modern technologies.\n\nThe ICH Documentation Workshop and Pilot filming exercises aimed at:\n\n- to conduct a Workshop with regards to share experiences and information on ICH Safeguarding through ICH documentation and dissemination in Mongolia and Korea;\n- to improve capacity of Mongolia, its personnel by applying the professional methodologies and techniques discussed through the Workshop meeting and Pilot filming;\n- to practice the Mongolian and Korean collaborative Pilot filming exercises; and\n- to gain expertise and strengthen capacity building at a practical level for ICH documentation in Mongolia, and to identify future challenges and collaboration.

This Book is the outcomes of the 2021 Expert Meeting for Building Network on Maritime ICH, which is held on 29 October 2021.\n\nThe expert meeting was co-organized by ICHCAP and SPC under the theme of Maritime Living Heritage: Coastal Communities in the Asia-Pacific Region and Their Traditional Food System.\nThis meeting consisted of two sessions with the different approaches to the costal communities and their traditional food system; ecocultural approach and socio-cultural approach. This book contains nine case studies of experts and scholars.

ICH Courier is the quarterly magazine on ICH in the Asia-Pacific region issued by ICHCAP since 2009. Every issue has its own theme under the title of the Windows to ICH, and the theme of the Vol 43 is 'MASK DANCE.'

“Without memory, there is no culture. Without memory, there would be no civilization, no society, no future.” — Elie Wiesel.\nAs a living heritage, intangible cultural heritage means that memories you hold and memories I hold represent shared and penetrating history. Contemporary society has experienced a loss of intimacy among people and has seen the environment of transmission changed beyond recognition. However, intangible cultural heritage reveals its presence, quietly saying, “I am still here next to you.” Let’s visit Kyrgyzstan, Bhutan, Laos, and Samoa to see what kind of voice they give us.