Teaching and Learning with Intangible Cultural Heritage in Asia and the Pacific\n\nLiving heritage is all around us. Bringing living heritage to school teaching will enhance education quality, enliven the experiences of students and teachers, and contribute to keeping this heritage alive for current and future generations. Whoever you are — teacher, school director, student, parent, heritage practitioner — you have a vital role to play in this process. Check out this animation series to learn more!\n\nCredit: Produced in UNESCO-ICHCAP-APCEIU partnership, with additional support from Chengdu Culture and Tourism Development Group L.L.C.\nContent development : Vanessa Achilles, Duong Bich Hanh\nCoordination : Hangying Li\nProduction : GotU Agency https://gotu.agency/ produced by Nathalie Barbé\nContributors : Kyungah Bang, Khyam Bahadur Bishwokarma, Ritu Dikshit, Sheleg Geva, Alexander Golub, Makara Hong, Aigul Khalafova, Min Jung Kim, Montakarn Suvanatap Kittipaisalsilp, Mark Manns, Majer Massanov, Ichiro Miyazawa, Weonmo Park, Neerana Shakya, Nilesh Sharma, Milin Singthalamake, Nipuna Shrestha, Pavin Unakul, Viktoriya Zakharova.

Teaching and Learning with Intangible Cultural Heritage in Asia and the Pacific\n\nLiving heritage is all around us. Bringing living heritage to school teaching will enhance education quality, enliven the experiences of students and teachers, and contribute to keeping this heritage alive for current and future generations. Whoever you are — teacher, school director, student, parent, heritage practitioner — you have a vital role to play in this process. Check out this animation series to learn more!\n\nCredit: Produced in UNESCO-ICHCAP-APCEIU partnership, with additional support from Chengdu Culture and Tourism Development Group L.L.C.\nContent development : Vanessa Achilles, Duong Bich Hanh\nCoordination : Hangying Li\nProduction : GotU Agency https://gotu.agency/ produced by Nathalie Barbé\nContributors : Kyungah Bang, Khyam Bahadur Bishwokarma, Ritu Dikshit, Sheleg Geva, Alexander Golub, Makara Hong, Aigul Khalafova, Min Jung Kim, Montakarn Suvanatap Kittipaisalsilp, Mark Manns, Majer Massanov, Ichiro Miyazawa, Weonmo Park, Neerana Shakya, Nilesh Sharma, Milin Singthalamake, Nipuna Shrestha, Pavin Unakul, Viktoriya Zakharova.

Teaching and Learning with Intangible Cultural Heritage in Asia and the Pacific\n\nLiving heritage is all around us. Bringing living heritage to school teaching will enhance education quality, enliven the experiences of students and teachers, and contribute to keeping this heritage alive for current and future generations. Whoever you are — teacher, school director, student, parent, heritage practitioner — you have a vital role to play in this process. Check out this animation series to learn more!\n\nCredit: Produced in UNESCO-ICHCAP-APCEIU partnership, with additional support from Chengdu Culture and Tourism Development Group L.L.C. \nContent development : Vanessa Achilles, Duong Bich Hanh\nCoordination : Hangying Li\nProduction : GotU Agency https://gotu.agency/ produced by Nathalie Barbé.\nContributors : Kyungah Bang, Khyam Bahadur Bishwokarma, Ritu Dikshit, Sheleg Geva, Alexander Golub, Makara Hong, Aigul Khalafova, Min Jung Kim, Montakarn Suvanatap Kittipaisalsilp, Mark Manns, Majer Massanov, Ichiro Miyazawa, Weonmo Park, Neerana Shakya, Nilesh Sharma, Milin Singthalamake, Nipuna Shrestha, Pavin Unakul, Viktoriya Zakharova.

Teaching and Learning with Intangible Cultural Heritage in Asia and the Pacific\n\nLiving heritage is all around us. Bringing living heritage to school teaching will enhance education quality, enliven the experiences of students and teachers, and contribute to keeping this heritage alive for current and future generations. Whoever you are — teacher, school director, student, parent, heritage practitioner — you have a vital role to play in this process. Check out this animation series to learn more!\n\nCredit: Produced in UNESCO-ICHCAP-APCEIU partnership, with additional support from Chengdu Culture and Tourism Development Group L.L.C.\nContent development : Vanessa Achilles, Duong Bich Hanh\nCoordination : Hangying Li\nProduction : GotU Agency https://gotu.agency/ produced by Nathalie Barbé\nContributors : Kyungah Bang, Khyam Bahadur Bishwokarma, Ritu Dikshit, Sheleg Geva, Alexander Golub, Makara Hong, Aigul Khalafova, Min Jung Kim, Montakarn Suvanatap Kittipaisalsilp, Mark Manns, Majer Massanov, Ichiro Miyazawa, Weonmo Park, Neerana Shakya, Nilesh Sharma, Milin Singthalamake, Nipuna Shrestha, Pavin Unakul, Viktoriya Zakharova.

Teaching and Learning with Intangible Cultural Heritage in Asia and the Pacific\n\nLiving heritage is all around us. Bringing living heritage to school teaching will enhance education quality, enliven the experiences of students and teachers, and contribute to keeping this heritage alive for current and future generations. Whoever you are — teacher, school director, student, parent, heritage practitioner — you have a vital role to play in this process. Check out this animation series to learn more!\n\nCredit: Produced in UNESCO-ICHCAP-APCEIU partnership, with additional support from Chengdu Culture and Tourism Development Group L.L.C.\nContent development : Vanessa Achilles, Duong Bich Hanh\nCoordination : Hangying Li\nProduction : GotU Agency https://gotu.agency/ produced by Nathalie Barbé\nContributors : Kyungah Bang, Khyam Bahadur Bishwokarma, Ritu Dikshit, Sheleg Geva, Alexander Golub, Makara Hong, Aigul Khalafova, Min Jung Kim, Montakarn Suvanatap Kittipaisalsilp, Mark Manns, Majer Massanov, Ichiro Miyazawa, Weonmo Park, Neerana Shakya, Nilesh Sharma, Milin Singthalamake, Nipuna Shrestha, Pavin Unakul, Viktoriya Zakharova.

The peacock is known as the king of the birds in Yunnan. The Dai people especially regard peacocks as symbols of luck, beauty and purity. Even today, people dance or watch the Peacock Dance during joyful occasions or festivals. Many dances among the folk dances of the Dai mimic the movements of animals. The Peacock Dance is the most famous and popular among such dances. There is a set order and format to the Peacock Dance. It consists of movements depicting it coming out of the nest, surveying its surroundings nimbly, walking calmly, find water, drinking water, playing with leisure, flapping its wings or folding and spreading its wings. Although the role of the peacock is usually played by a female dancer these days, it used to be performed by a male dancer in the past. The Dai people make up the 11th largest ethnic minority group in China among the 56 officially recognized by the Chinese government. They are mostly concentrated in the Xishuangbanna Dai Autonomous Prefecture and Dehong Dai and Jingpo Autonomous Prefecture in Yunnan, and further spread out across Laos, Vietnam, Thailand and Myanmar.\n\nCharacteristics:\n∙Dance mimicking the movements of animals\n\nPerformed by Kunming Ethnic Song and Dance Company\nChoreographed by Yang Zhou

Traditional coastal communities possess marine knowledge that enable them to live with and live on resources in different eco-niches like intertidal strands, mangroves, mudflats, beach forest, and coral reefs. After the Covid 19 broke out, Traditional coastal communities reflected how the often neglected knowledge and skills became the inspiration and hope for urban populations who rely on purchased food from convenient stores or modern trade stores, during which the semi-lockdown affected the distribution and sales of food.

Loy Krathong is a ceremony that expresses reverence for the Goddess of Water. It is held on the night of a full moon during the twelfth lunar month of each year, in fall during November on the Western calendar. The event seeks forgiveness for the use and pollution of water by humans, and participants craft lotus-shaped baskets using banana leaves (krathong), hold them against their foreheads to offer prayers, set them adrift on the river, and make wishes. Held across all of Thailand, Loy Krathong includes a krathong-making contest, which effectively sustains popular interest in traditional Thai crafts and transmits such traditions to future generations.

Hun Krabok is Thailand’s traditional puppet theater, which has endured since the reign of King Narai of the Ayutthaya Kingdom in the seventeenth century. Hun Krabok generally depicts episodes or fables found in literature, with the main puppets classified as pra, nang, yak, ling, and joker. Each puppet holds a dancing pose in one hand and a weapon in the other. \n\nThis video depicts the story of a Hun Krabok troupe that is currently facing the risk of closure, as well as the production and performance techniques for the puppets featured in this traditional performing art.

Nang Talung is a traditional style of shadow puppetry from the southern region of Thailand. Records note that Nang Talung originated from Phatthalung, the birthplace of puppet theater, as the people of Phatthalung embraced influences from Indian puppet theater and created new forms. In the past, Nang Talung was an essential part of funerals, but to\u0002day it is mainly staged as an outdoor performance, although it is gradually diminishing in popularity due to the develop\u0002ment of modern media. In response, Nang Talung troupes are attempting various innovations such as adding Western instruments to their performances.

Fruit carving is one of Thailand’s traditional craft techniques. It originally began in the Sukhothai Kingdom but saw renewed interest through efforts made during the Rattanakosin Kingdom to rebuild and revive Ayutthaya culture, which further advanced carving techniques in the royal palace in Bangkok. However, this art was not limited to the upper class, but instead became shared as a way to decorate food in the everyday lives of ordinary people. \n\nToday, Thai fruit carving is being systematically developed and transmitted through its inclusion in the curriculum of accredited national educational institutes.

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018\nKhon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds.