Tamzhing Phag-chham is a solo mask dance with a mask made of a wild boar (Sus scrofa), which is very common on the Asian continent. The term "Phag-chham" sometimes has two different meanings; Phag-chham (tamzhing Phag-chham) and the other, the Phag-chham performed during the Raksha Mangchham (a theatrical mask dance of the Intermediate state). Tamzhing Phag-chham was originally composed by the Great Treasurer Terton Pama Lingpa (1450-1521) on the consecration of the temple Tamzhing Lhundrub Choeling on the 15th day of the Tiger Month (11th month) of the Wood Ox Year, which corresponds to the Gregorian year 1505, in Bumthang, one of the central districts of Bhutan. Later it was performed in other monasteries founded either by Terton himself or by his successors in most of the eastern and central parts of Bhutan.

Tamzhing Phag-chham is a solo mask dance with a mask made of a wild boar (Sus scrofa), which is very common on the Asian continent. The term "Phag-chham" sometimes has two different meanings; Phag-chham (tamzhing Phag-chham) and the other, the Phag-chham performed during the Raksha Mangchham (a theatrical mask dance of the Intermediate state). Tamzhing Phag-chham was originally composed by the Great Treasurer Terton Pama Lingpa (1450-1521) on the consecration of the temple Tamzhing Lhundrub Choeling on the 15th day of the Tiger Month (11th month) of the Wood Ox Year, which corresponds to the Gregorian year 1505, in Bumthang, one of the central districts of Bhutan. Later it was performed in other monasteries founded either by Terton himself or by his successors in most of the eastern and central parts of Bhutan.

Tamzhing Phag-chham is a solo mask dance with a mask made of a wild boar (Sus scrofa), which is very common on the Asian continent. The term "Phag-chham" sometimes has two different meanings; Phag-chham (tamzhing Phag-chham) and the other, the Phag-chham performed during the Raksha Mangchham (a theatrical mask dance of the Intermediate state). Tamzhing Phag-chham was originally composed by the Great Treasurer Terton Pama Lingpa (1450-1521) on the consecration of the temple Tamzhing Lhundrub Choeling on the 15th day of the Tiger Month (11th month) of the Wood Ox Year, which corresponds to the Gregorian year 1505, in Bumthang, one of the central districts of Bhutan. Later it was performed in other monasteries founded either by Terton himself or by his successors in most of the eastern and central parts of Bhutan.

Nang-zhey or Ngang pi Zhey is a native folk dance of a particular chiwog under Chokor Gewog in Bumthang with unique dress, lyrics, melodies and steps performed only by the male artists locally called Pazer-pa (soldiers or guards). \n\nThe zhey is believed to be a sacred performance composed by their spiritual master Namkha Samdrup aka Tshampai Lama. Namkha Samdrub was born in 1398 on the 14th day of the third lunar month of the 7th Rabjung to Jamyang Drakpa Yoezer, one of the twin sons of the 22nd Sumthrang Choeje Palden Sengge and his partner Bumkyi, who belonged to the lineage of Ngangpai Dung.\n\nAt the age of four, Namkha Samdrub was recognized as the reincarnation of Zhigpo Trashi Sengge, the 19th successor of Sumthrang Choeje. From the age of six to thirteen, he learned the basic Buddhist teachings and received empowerments and oral transmissions from his uncle Tennyi. He continued to seek further teachings and empowerments from various masters, including Drubwang Montsepa (d.u.), Lama Kunga Palden (d.u.), Gyalwang Choeje (d.u.), 6th Karmapa Thongwa Donden (1416-1453), and Terton (treasure discoverer) Ratna Lingpa (1403-1478). \n\nNamkha Samdrub eventually became a high-ranking master of the Drigung Kagyu (one of the Tibetan schools) and spent much of his life in solitude in the area bordering Tibet called Longtoe District, which is why he is sometimes called Longtoe Lama by Tibetans. He later moved to Tshampa on the Bhutanese side, where he took up extensive meditation practices, so he became known as Tshampai Lama. Later, he founded the Ngang Lhakhang (temple) in the Ngang community, which consisted mainly of his followers. After the completion of the temple, the Rabney (consecration ceremony) on the 15th day of the tenth lunar month was conducted by Lama himself. During the Rabney, Lama introduced mask dances as well as Ngang-zhey, which are performed every year on the 15th and 17th days of the tenth lunar month to sanctify the physical space and bestow blessings on the audience, coinciding with the eve of Karma nyadzom (conjunction with the Pleiades constellation).

The traditional musical instruments of Myanmar were prominent throughout the nation’s history. The instruments were developed as early as the Pyu Era, Bagan Era and many were dominant features of music during the Innwa Era and Konbaung Era.\n\nWhile some of these instruments have been preserved and are used today, others have been lost to history.\nIn an attempt to preserve the traditional musical instruments of Myanmar, the Ministry of Culture displayed traditional instruments and distributed the books about the instruments during an exhibition in 1955. This research shows thirty-three kinds of instruments. Moreover, in a 2003 celebration of traditional instruments, the Ministry of Culture exhibited over two hundred traditional instruments at the national museum.\nWhile the instruments on display were representative of many regions and states, many instruments were not included.\nBecause of this lack of full representativeness, additional research through field studies is required. This project proposal addresses this need.\n\nTo create a preliminary basis towards developing a national ICH inventory of craftsmanship and performing arts of traditional musical instruments in Myanmar. To safeguard ICH related to the craftsmanship and performing arts of traditional musical instruments and to promote cultural diversity among multi- ethnic groups in Myanmar. To raise awareness of the Myanmar public on the importance of ICH. To expand networking and information sharing between Myanmar and Korea.

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.

In November 2013, Jindo County hosted a symposium on shaman heritage and public events. Organized by ICHCAP and the World Ethnic Dance Institute with the support of the Cultural Heritage Administration of Korea, the participants from Northeast Asia, South Asia, and Southeast Asia explored measures through which shaman cultural heritage can be safeguarded with international cooperation. Diversity and Commonality of Shaman Heritage in Asia—Current Safeguarding Status and Challenges of Asian Shaman Heritage is a dual-language publication with the meeting’s discussion and presentation papers available in both English and Korean.

UNESCO-ICHCAP, with cooperation of the International Institute for Central Asian Studies(IICAS) and Korea-Central Asia Cooperation Forum Secretariat, organized the launching events of the Silk Roads Living Heritage Network (SLN) on October 28 and 29, at DDP, Seoul, and Online during Korea Foundation’s ‘Public Diplomacy Week. This publication contains about this event.\n\nThis networking program is based on experiences and achievements obtained from the collaborative work of UNESCO-ICHCAP in the living heritage field in Central Asia over the last decade.\n\nFor reference, the networking program comes on the heels of a three-party MoU signed by ICHCAP and organizations in Uzbekistan in 2019 and was followed by a Central Asia network meeting in Kazakhstan in 2019. In 2020, ICHCAP in cooperation with International Institute for Central Asian Studies (IICAS), conducted a survey project about ICH festivals along the Silk Roads, particularly with countries along the steppe route. Regarding the survey result, ICHCAP, IICAS and Korea-Central Asia Cooperation Forum Secretariat of the Korea Foundation (KF) held an online webinar and a strategic meeting to consider the need for realizing the multilateral values of Silk Roads-related cooperation.

Based on the ICHCAP Field Survey on Intangible Cultural Heritage Safeguarding Efforts in some Pacific countries (2009-2013), this summary provides a brief overview on the ICH situation in Fiji, Papua New Guinea, the Cook Islands, the Marshall Islands, Tonga, Palau, Vanuatu and Federated States of Micronesia. The summary focuses mainly on ICH safeguarding systems, safeguarding policies, and ICH inventories as well as on pending issues and the urgent safeguarding needs of these countries. Moreover, information on the main entities in charge of ICH safeguarding and opinions of each country on the issue of community involvement are provided. To give a quick overview these countries’ participation in ICH safeguarding at the international level, some additional information related to UNESCO is specified as well. Apart from the main topic, information on the situation of intellectual property related to ICH safeguarding in each country is included. This survey report offers a large sample of the diverse ICH situations in Pacific countries. Each country has a different background on the issue of intangible heritage. Although all countries participating in the survey are concerned with the threats facing their ICH, most of them haven’t defined ICH and haven’t established inventory national ICH list or inventory. However, each country expresses a high degree of motivation and encouragement for safeguarding ICH, sharing experiences, and participating in international cooperation efforts. Compared to some Asian countries, Pacific countries seem to be well aware of the emerging intellectual property issues related to ICH. This might be related to the internationally publicized infringement and violation of intellectual property rights by outsiders on the Pacific’s traditional knowledge, cultural expressions, and genetic resources . Moreover, these countries appear to collaborate closely with the World Intellectual Property Organization on various awareness-raising and capacity-building activities on protecting traditional culture in a broad sense. To date, out of the eight Pacific countries participating in the survey, five countries (Fiji, Papua New Guinea, Cook Islands, Palau, and Vanuatu) are drafting laws on the protection of traditional knowledge and expressions of culture. Furthermore, in terms of technical terminology, the Pacific countries tend to use “traditional knowledge” and “expressions of culture” as equivalent terms to “intangible cultural heritage”. Pacific countries are also conducting cultural mapping projects, which is another common point that they share. Finally, the Pacific region has the highest rate of indigenous populations of any other region of the world and the highest rate of customary or traditional land ownership.\n\n- Ratified the ICH Convention in 2010; conducted survey in 2009 and updated in 2015.\n- As of March 2018, has no elements on the ICH Lists of UNESCO and no accredited NGOs.

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 1st Vol is 'GODDESSES FROM ASIA & THE PACIFIC'.