The early history of the Nagas is shrouded in obscurity and many theories abound of their origin  and  migration.  How  and  when  they  came  to  settle  in  the  north‐eastern  region  of India is an unsettled question. \nSeveral  traditions  exist  within  the  multi‐ethnic  Naga  communities  on  their  origins. \nAccording to the oral traditions passed down through songs, folklore and word of mouth the Ao emerged from six stones at Long‐terok, which exists to this day near Chungliyimti, the first legendry settlement of the Ao. ‘Long’ meaning stone and ‘Terok’ six, refers to the six stones from which emerged three pairs of male and female progenitors whom the Ao claim  to  be  their  ancestors.  The  Ao  is  distinguished  with  two  phratries  –Chongli  and Mongsen. The Chongli claim  that the  three males and  females who emerged at Longtrok were Tongpok and his sister Lendina, Longpok with his sister Yongmenala and Longjakrep with  his  sister  Elongshe.  They  were  the  first  human  beings  who  emerged  at  Longtrok. \nEach  male  member  along  with  his  sister  formed  the  three  phratries  of  the  Chongli. \nTongpok founded the Imsong‐Pongen clan, Longpok the Longkumer clan and Longjakrep with  his  sister  founded  the  Jamir  clan  respectively.  The  three  siblings  intermarried  and through  these  marriages,  the  Ao  clans  came  into  existence  and  a  well‐  knitted  clan exogamy marriage evolved that is followed to this day. 

This brochure introduces 14 intangible cultural heritage elements of Timor-Leste. \n\nThe publication is a result of a cooperative project between the Timor-Leste National Commission for UNESCO and ICHCAP.

Lialiaci is a publication of the iTaukei Institute of Language and Culture, Ministry of iTaukei Affairs. \nLialiaci means to ponder or reflect upon deeply. \nThat is the intent of these articles and perspectives on culture. \n\nThe publication has 3 articles:\n1. Bulu, The Spirit World by Anasa Tawake\n\nThis brief research will try to explain Bulu or the iTaukei concept of the spirit world.\nIt is important to define Bulu or the spirit world because it can be a foundation to which our beliefs are derived from. It is understood that our culture is ‘fixated on Bulu’ (Sekove Bigitibau). If this is so, then our culture, customs and ethos are focused towards the spirit world known as Bulu. Prior to Christianity, who’s to say that the beliefs of our ancestors were inaccurate? It is a common belief that Christianity was the best thing to happen to our vanua. On the contrary, Christianity brought about the demonization of iTaukei belief system. At the offset, the missionaries knew that there was an existing belief system unfortunately they chose to disregard this and not use it as a foundation for Christian faith.\n\n2.The Sunken island by Inoki Kaloumaira:\nA few islands in Fiji and the Pacific are said to have submerged in the last hundred to thousand years ago. The island of Vuniivilevu is believed to have submerged in the year AD1200 in the Motoriki waters, Lomaiviti (2005). It is one of the islands that is regarded to have been inhabited first before other settlers arrived. Early migrants were said to be tall, muscular and tough and this could be proven with the skeleton that was found in Naturuku, Motoriki in 2002. What was also remarkable about this skeleton was the excellent state of preservation of the skull. It was of a female who would’ve been tall, muscular and tough and was believed to have lived in Motoriki around 800BC (2007). \n\n3. Ancient Sounds in Fiji by Ulaiasi Taoi:\nAncient sounds in Fiji is still echoed in traditional chant, traditional dances, polyphony, and sacred psalms. It is found to be unique from western sounds and sounds in many parts of the world. Most current Fijian music has adopted western sounds, this includes church hymns, folk songs, serenades, and also Tongan sounds which is practiced in serevakalau known as Polotu and also pesi (Lauan folksongs). Aporosa a traditional cartographer form Beqa stated that there was no Fijian alphabet, but instead was the practice of oral transmission through traditional dances. Lyrics, cartographer and sound were transmitted through vision (Bulivou, 1985). Once ancient sounds were not composed, it was inherently transmitted through the vanua as a gift, and intrinsically maintained its mana in the vanua livelihood. \n\n\n\n \n

Promote Transformative Education Through Integrating Living Heritage in Schools\n\nIntegrating living heritage in school teaching and learning can enhance education quality, enliven the experiences of students and teachers, and contribute to keeping this heritage alive for current and future generations. In addition, as the ongoing pandemic Covid-19 has also demonstrated, living heritage can play an important role in ensuring the well-being and resilience of the communities.\nUNESCO encourages countries to safeguard living heritage through formal and non-formal education. From the end of 2019 to early 2022, UNESCO has been working with partners to implement a pilot project “Teaching and Learning with Living Heritage in Schools” in six countries in Asia and the Pacific - including Cambodia, Kazakhstan, Kyrgyzstan, Nepal, Republic of Korea and Thailand. Over 1900 students from 21 schools had the opportunity to participate in these innovative classes. Throughout the process, 86 teachers, with more than two thirds being women, have developed and tested 101 lesson plans and activities.\nThis Resource Kit provides step-by-step guidance and key resources on why and how to integrate living heritage in lessons and extracurricular activities in schools. \nWhoever you are – policy-maker, school director, teacher, student, parent, heritage practitioner – you have a vital role to play in this process.

Promote Transformative Education Through Integrating Living Heritage in Schools\n\nIntegrating living heritage in school teaching and learning can enhance education quality, enliven the experiences of students and teachers, and contribute to keeping this heritage alive for current and future generations. In addition, as the ongoing pandemic Covid-19 has also demonstrated, living heritage can play an important role in ensuring the well-being and resilience of the communities.\nUNESCO encourages countries to safeguard living heritage through formal and non-formal education. From the end of 2019 to early 2022, UNESCO has been working with partners to implement a pilot project “Teaching and Learning with Living Heritage in Schools” in six countries in Asia and the Pacific - including Cambodia, Kazakhstan, Kyrgyzstan, Nepal, Republic of Korea and Thailand. Over 1900 students from 21 schools had the opportunity to participate in these innovative classes. Throughout the process, 86 teachers, with more than two thirds being women, have developed and tested 101 lesson plans and activities.\nThis Resource Kit provides step-by-step guidance and key resources on why and how to integrate living heritage in lessons and extracurricular activities in schools.\nWhoever you are – policy-maker, school director, teacher, student, parent, heritage practitioner – you have a vital role to play in this process.

This book contains ten good practices from five Asia-Pacific countries (Nepal, Vietnam, Uzbekistan, India, and Kyrgyzstan) selected through an international contest in 2022. Through this publication, the authors highlight the status of traditional crafts in their respective countries and showcase how traditional crafts contribute to sustainable development within communities, focusing on policies, programs, and activities such as marketing, consulting, and capacity development.\n\nPreviously overshadowed by mass-produced crafts in the market, traditional crafts have gained new importance today in the context of sustainable development, including ecosystem conservation, climate change, job creation, and economic growth. They are now acknowledged as a promising foundation, forming the basis of a new economic model based on well-being and contentment, extending beyond the realms of community sustenance and economic expansion.\n\nICHCAP aims to raise awareness of the significance of traditional crafts in this context and strengthen the network of craft experts and institutions. Moreover, the publication seeks to explore ways in which traditional crafts can be passed down in a modernized manner. Furthermore, the good practices featured in this publication can be linked to various programs of domestic and international craft-related institutions, aiming to enhance awareness of traditional crafts.

Lialiaci is a publication of the iTaukei Institute of Language and Culture, Ministry of iTaukei Affairs.\nLialiaci means to ponder or reflect upon deeply. That is the intent of these articles and perspectives on culture. \n\nThe Vanua Spirituality will attempt to explain the ancient spirituality of the indigenous people of Fiji. Indigenous spirituality is important because it describes in totality the significance of the Vanua, its worldview and vanua ethos. \n\nFijian Bread; The people of Qoma are fisherfolk, and part of their traditional role is the presentation of turtle accompanied with a basket of Fijian bread 'madrainiviti' to the chief of Verata and Dawasamu. Before the introduction of wheat bread in Fiji, their ancestors were enjoying traditional bread made out of fermented root crops.\n\nThe five Cultural Protected Water Body (CPWB) Types in Fiji; A total of five CPWB were found to be practiced in Fiji.\n

Promote Transformative Education Through Integrating Living Heritage in Schools\n\nIntegrating living heritage in school teaching and learning can enhance education quality, enliven the experiences of students and teachers, and contribute to keeping this heritage alive for current and future generations. In addition, as the ongoing pandemic Covid-19 has also demonstrated, living heritage can play an important role in ensuring the well-being and resilience of the communities.\nUNESCO encourages countries to safeguard living heritage through formal and non-formal education. From the end of 2019 to early 2022, UNESCO has been working with partners to implement a pilot project “Teaching and Learning with Living Heritage in Schools” in six countries in Asia and the Pacific - including Cambodia, Kazakhstan, Kyrgyzstan, Nepal, Republic of Korea and Thailand. Over 1900 students from 21 schools had the opportunity to participate in these innovative classes. Throughout the process, 86 teachers, with more than two thirds being women, have developed and tested 101 lesson plans and activities.\nThis Resource Kit provides step-by-step guidance and key resources on why and how to integrate living heritage in lessons and extracurricular activities in schools.\nWhoever you are – policy-maker, school director, teacher, student, parent, heritage practitioner – you have a vital role to play in this process.

유네스코아태무형유산센터는 국립아시아문화전당과 협력하여 키르기스스탄의 문화와 역사를 소개하는 도서 <키르기즈 사람들>을 발간했다. 키르기즈 민족의 다채로운 문화를 총망라한 최초의 국문 단행본인 이 도서는 키르기스스탄의 전 교육과학부 장관인 카니벡 이마날리예프(Kanybek Imanaliev)가 저술한 를 한국어로 번역한 책이다.\n\n오늘날 중앙아시아의 산악지역에 살고 있는 키르기즈 민족은 말과 유목 그리고 서사시와 관련된 문화유산을 중요시한다. 이 책을 통해 키르기즈 사람들의 삶과 예술 속에 문화유산이 어떤 의미를 갖는지 살펴볼 수 있다.\n

Kathakali (lit. story- play) is a highly sophisticated and stylized semi-classical dance drama prevalent all over Kerala. It evolved amalgamating features from all folk and classical performing art forms of Kerala. \nKathakali as a performing art evolved from Ramanattam. The King of Kottarakkara adapted eight episodes from the Ramayana as Ramanattam. However, in the 17th century, the King of Vettathu Nadu modified Ramanattam to develop a classical dance-drama, the Kathakali.\nKathakali derives its themes from the Indian epics, the Ramayana, the Mahabharata and the Bhagavata Purana. The language used for the songs in Kathakali is a mixture of Malayalam and Sanskrit (manipravalam). For theatric communication, the actor uses dance movements, a codified language of gestures and facial expressions. Kathakali displays great dexterity and potential for the actor to show his histrionic and interpretative skills through resorting to an elaborate method of acting.\nThe performance of Kathakali follows a particular sequence. At dusk, the percussionists play their instruments to announce the event (keli). The traditional lamp is lit in front of the performing area (vilakku veppu). The horizontal drum is played to signal the commencement (arangu keli or suddha manddalam), and singers recite the invocation (sloka). \nTwo performers dance a ritual invocation behind the curtain, salute the deities. \nAnother prayer dance is performed in front of the curtain, followed by the ensemble of the drums (chenda, maddalam, chengila, elathalam). The actual story (katha) begins only after these preliminaries. \nIn Kathakali, the make-up and costume represent different traits of character. The colours are symbolic; green represents satwik (pious and virtuous characters); red patch on a green face to represent rajasi’(valorous characters); and a thadi (beard) is added to represents tamasic (evil traits of a character). Elaborate costumes and intricate face make-up In Kathakali is done to mask the human face and invest it with super-human characteristics. \nKathakali has transformed over the recent years from all-night performances in temples and other sites, to three-hour presentations in contemporary settings. The plays have become abridged to suit the tastes of a new audience.

Promote Transformative Education Through Integrating Living Heritage in Schools\n\nIntegrating living heritage in school teaching and learning can enhance education quality, enliven the experiences of students and teachers, and contribute to keeping this heritage alive for current and future generations. In addition, as the ongoing pandemic Covid-19 has also demonstrated, living heritage can play an important role in ensuring the well-being and resilience of the communities.\nUNESCO encourages countries to safeguard living heritage through formal and non-formal education. From the end of 2019 to early 2022, UNESCO has been working with partners to implement a pilot project “Teaching and Learning with Living Heritage in Schools” in six countries in Asia and the Pacific - including Cambodia, Kazakhstan, Kyrgyzstan, Nepal, Republic of Korea and Thailand. Over 1900 students from 21 schools had the opportunity to participate in these innovative classes. Throughout the process, 86 teachers, with more than two thirds being women, have developed and tested 101 lesson plans and activities.\nThis Resource Kit provides step-by-step guidance and key resources on why and how to integrate living heritage in lessons and extracurricular activities in schools. \nWhoever you are – policy-maker, school director, teacher, student, parent, heritage practitioner – you have a vital role to play in this process.

Promote Transformative Education Through Integrating Living Heritage in Schools\n\nIntegrating living heritage in school teaching and learning can enhance education quality, enliven the experiences of students and teachers, and contribute to keeping this heritage alive for current and future generations. In addition, as the ongoing pandemic Covid-19 has also demonstrated, living heritage can play an important role in ensuring the well-being and resilience of the communities.\nUNESCO encourages countries to safeguard living heritage through formal and non-formal education. From the end of 2019 to early 2022, UNESCO has been working with partners to implement a pilot project “Teaching and Learning with Living Heritage in Schools” in six countries in Asia and the Pacific - including Cambodia, Kazakhstan, Kyrgyzstan, Nepal, Republic of Korea and Thailand. Over 1900 students from 21 schools had the opportunity to participate in these innovative classes. Throughout the process, 86 teachers, with more than two thirds being women, have developed and tested 101 lesson plans and activities.\nThis Resource Kit provides step-by-step guidance and key resources on why and how to integrate living heritage in lessons and extracurricular activities in schools.\nWhoever you are – policy-maker, school director, teacher, student, parent, heritage practitioner – you have a vital role to play in this process.