The Gong khle or Gong Boun (four gongs) is a traditional instrument of the indigenous people, Bunoong living in Mondulkiri province. This instrument is performed for the purpose of entertaining during festivals or other occasions in indigenous villages. This form is in danger due to the lack of transmission. In response to the current situation, the Provincial Department of Culture and Fine Arts has been implementing a number of activities to support the promotion of indigenous peoples’ culture living in Mondulkiri. \nThe instrument is made of copper mixed with silver with a specific measure by the experts. These musical instruments are inherited from their ancestors and they do not know whether other indigenous groups play these instruments. Today, they cannot afford to produce it themselves.\n

The Kreung wedding, the bride and the groom first meet through the occasional drinking pot rice wine ceremony with relatives in the village. It was an opportunity for the two of them to get to know each other before they decided to be a couple. In their tradition, when they agree to be together, the men always go to sleep at the daughter's house at night, but they do not dare to do anything foolish to break their tradition. If the father of the daughter finds a matchmaker to find out who the son is and why he came to sleep at his daughter's house, the father has to ask the matchmaker to make a deal with the men and follow traditional penalties, such as: forcing them to marry at once or get fine with gifts, namely: 1 buffalo, 1 pig, 1 chicken and a pot of rice wine. If the son and daughter acknowledge that they are in love, then the matchmaker begins to inform the son's parents. And if the son's parents are satisfied with the daughter as well, they will continue to let their son visit the girl’s house regularly. During that time, the men had to work at the daughter's house for a year, while the daughter also helped with the work too.

It is a traditional game in North Vihear village, Vihear Sour commune, Khsach Kandal district, Kandal province in the Vihear Sour pagoda. This traditional racing being held on the occasion of Pchum Ben only and there is no winners or losers. The buffalo are beautifully decorated in order to ask for peace and prosperity to happen in their village.

Rolaet is a solo instrument of the indigenous people in Mondulkiri province called Bunoong. The device consists of a gourd and a long bamboo tube shaped like a flute with three holes, and a short bamboo tube plugged into the gourd.\nRolaet has been called by the Bunoong people from generation to generation and they do not know the history of this musical instrument, nor do they know which generation or ethnic group was the first creator (According to Mr. Bev Kras and Mr. Dernh Buntha). As for the production of this instrument, it can be made by yourself because the components are convenient and available locally. \n

Gong Raeng is a musical instrument of the Bunoong indigenous people living in Mondulkiri province. This instrument consists of a bamboo or bamboo knot with a diameter of about 4 to 6 cm and a length of between 50 and 70 cm, connected to the bottom of a gourd, and has 9 strings. Gong Raeng has been called by the Bunoong, Tampoun, Jarai people, while the Kreung people call this instrument Cheang Rieng (Chapei Khlok) and do not know the history of this instrument and do not know which ancestor or indigenous groups was the first creator. As for the production of this musical instrument, they can do it themselves because the raw materials are convenient and available locally. To make Gong Raeng, they need a good ripe gourd, dry it in the sun, and cut the bottom of the gourd into a circle with a diameter of about 7 cm, smaller or larger depending on the size of the bamboo. Then take a bamboo knot about 50 to 70 cm long and attach it to the top of the gourd using a rattan or string tied from the bamboo to the buttocks of the gourd to prevent it from slipping off. At one end of the bamboo, nine holes are drilled to hold a string made of bamboo or hardwood to tighten the strings of the instrument.

Kun Lbokator is an ancient Khmer martial arts dating back to at least the Angkorian period, which aims to inculcate and develop mental and physical strength and discipline in its practitioners, by mastering self-defense techniques, while promoting the philosophy of non-violence. It is characterized and distinguished not only a martial arts form but also embodies a certain cultural aspect. For instance, the rituals and social practices observed in Kun Lbokator require that the practitioner possesses knowledge about nature and the universe. \nPractitioners are required to train and master striking and defense techniques relying on their bare arms and legs, and only once a student can demonstrate proficiency is weapons training introduced. Another essential aspect of Kun Lbokator is that it is to be practiced with an ensemble of elements including dance, music, natural medicine, sacred objects and/or amulets, tattoos, and weapons. Masters play a crucial role in the performing aspect of Kun Lbokator because they serve as mediators between the apprentices and the guardian spirits, and thus are responsible for introducing new apprentices to them and the surrounding nature, asking for the apprentices’ protection and safety in training. In return, practitioners are required to show respect to others and take a pledge to become good citizens. \nPresently, Kun Lbokator is still actively performed as part of ritual offerings to local protective deities, Neak Ta as well as in other festive events. Kun Lbokator is an intangible tradition widely practiced among Cambodians, regardless of their age, gender and educational backgrounds or statuses.\n

Pleng Chaiyam is lively, funny and captivates the audience's attention. This music is played to celebrate in many festivals and events.\nChaiyam musical instruments include 5, 7, and 9 long drums (may be more or less as possible), and other traditional music instruments such as one or a pair of Krab, one or a pair of Chap, one Gongmong (as a rhythm giver or so-called master) And sometimes there are Cheong and Tro to support as well. For the costume, men are wearing Kben, Sontaes shirts, using different bright colors with a scarf around their waists. Most of the characters wear funny face masks made of paper. Sometimes there is also a female character holding Chap to accompany the dance. There must be a man dressed as a woman if there is no woman.\nMany festivals are held at pagodas, so each pagoda always has a Chaiyam band.\n

Am wat is a solo instrument of the indigenous people called Bunoong in Mondulkiri province that has been around for a long time. This instrument is made up of a long necked gourd, 6 bamboo poles, about 1.5 cm in size and about 30 to 50 cm long. This instrument belongs to the group of high wind instruments. For the production of this instrument, players can make their own, because the instrument is convenient and available locally. This traditional musical instrument can be played by musicians without any specific occasion which means it can be played for entertainment purposes too, but they have to choose a specific song for a specific occasion. In the past, people used to play Am Wat in the morning to wake their children up, but now there are very few people who can use this instrument.

Online Seminar on Cultural Diversity and Global Citizenship Education (GCED) was organized to think about the importance of having a better grasp of how ICH and cultural diversity bring our students, teachers, and schools closer to quality education, particularly when we make our efforts toward global citizenship education. \n\nPresentation 3 Case study – Peace Education in the Primary School Education System by Mr. Jose Fernando Mejia Executive Director, Classrooms in Peace Program

Juliette Hopkins introduces results of a survey that launched to share living heritage experience. It was an online survey how their living heritage has been affected by the pandemic, what role their living heritage has been playing and what safeguarding initiatives have been put in place. Its aim was to create accessible platform to share information, exchange experiences, learn from each other and also to draw inspiration.\n\nJULIETTE HOPKINS is an Associate Programme Specialist in the Secretariat for UNESCO’s 2003 Convention for the Safeguarding of the Intangible Cultural Heritage. She currently works in the Capacity Building and Heritage Policy Unit, where she is the focal point for issues relating to intangible cultural heritage and emergencies. Before joining UNESCO in 2016, she worked as an anthropologist with indigenous communities in Australia on heritage management and community development projects. She also has professional experience as a journalist in Cambodia and France. Her academic background is in social and medical anthropology with degrees from The University of Sydney and University of Oxford.

Sastra or Sastra Sleuk Rith (manuscript written on palm leaves) is an important document that records the knowledge and words of wisdom in Cambodia for centuries. Sastra is the long format of palm leaf manuscripts, other known as Vean (short format), mostly documented Buddhist scriptures in Pali or bilingual Pali-Khmer. In addition, it also contains sermons, legal writing, etc.

Nom Banhchok, a type of locally made rice noodle, is a very popular food that can be found all over Cambodia. The noodle can be served with different kinds of sauces or soup, from a simple mix of salt and chilly or a mix of fermented fish paste and chilly and herbs to the red curry, or the most popular one, the samlor proheur or also known samlor Khmer (fish lemongrass soup). The last is generally served with fresh vegetables including cucumbers, long beans, bean sprouts, banana flowers, water lily stems, and so on. Although popular, it is not a staple food like cooked rice. It is eaten once in a while or on a special festival with a large gathering of people.