Quan họ Bắc Ninh folk songs\nQuan họ Bắc Ninh folk songs that have been created and supplemented for generations, are alternating response songs between male and female singers who have resided on the two banks of the Cầu River in ancient Kinh Bắc region.\nOn September 30th, 2009, Quan họ Bắc Ninh folk songs were inscribedon the Representative List of the Intangible Cultural Heritage of Humanity by the Intergovernmental Committee for 2013 UNESCO Convention on Safeguarding of intangible cultural heritage, taken place in Abu Dhabi, the capital of the United Arab Emirates.\n

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018\nLkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor \ngods.\n\nA set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018\nLkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor \ngods.\n\nA set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018\nLkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor \ngods.\n\nA set of each wrist adornment consists of 6 separate accessories, including one Kong Reak bangle, two Kantrum bracelets, one Kravil Dai bracelet, one Chinh- chean Krang bracelet, and one Slek Tes. The Kong Reak is worn at the top among all. Then, the two Kantrum bracelets, Kravil Dai, Chinh-chean Krang, and Sleuk Tes are worn one beneath another respectively.

Rickshaw is considered one of the most popular transport vehicles in Bangladesh. Millions of rickshaws can be seen all over the country. It is one of the most easy-to-get and traditional vehicles in this region. Basically, this is a three-wheeled pedicab driven by a person who is generally called 'rickshaw-wala'. It is required to put hard physical labor to drive this vehicle. Most of the Asian nations have their own form of this primitive transportation. But, in Bangladesh, the vibrant, colorful designs on rickshaw has taken it to another level of aesthetics and craftsmanship. The painted rectangular metal board at the backside, between the two wheels of the vehicle is the main attraction of the whole artwork. This is what you generally refer to as rickshaw painting- a genre of art that is unique to the Bengali culture. Sometimes it resembles rural life, sometimes historic incidents or movie stars or surreal thoughts, essentially to attract the passengers. This is a traditional Bangladeshi urban folk art form that represents the culture, history, and livelihood of common people. In reality, every rickshaw is a single mobile piece of art.\n\nThe themes of rickshaw painting are a bit different in different cities. In Dhaka, the capital city of Bangladesh, the paintings are more vibrant than the paintings Chittagong region, and you can also notice the difference in Rajshahi or other regions. But most of the time It includes the colorful paint of birds, flowers, village scenery, liberation war, cinema poster, cities, mythology, animals, human beings, national monuments, etc. Even sometimes global incidents inspire the artisans. There were rickshaw paintings in Dhaka based on the incidence of the collapse of twin towers in the United States of America.\nThe rickshaw painters are considered as traditional folk artists. Their arts are sometimes considered as people's art. There are different types of rickshaw painters. Mostly they are less educated. They are the people who have been working in rickshaw garages. If you visit the rickshaw garages you may find elderly people who have been painting for decades. This is somehow a pearl of local wisdom. Most of the early artisans self-taught. They have no institutional training or knowledge of painting. However, their colorful vibrant paintings on rickshaw show their craftsmanship, skill, and level of imagination and observation power. These paintings on the body of the rickshaw can easily catch someone's eye which is the main reason behind rickshaw painting- to attract passengers. nThe painters reflect their own likings and desires in their paint as well as the desires of the people who are ordering the painting. They also consider the likings of the passengers whom we call rickshaw-jatri. The decoration and painting attract the general riders. They enjoy watching this piece of art.\n\nWe can see some challenges nowadays, in terms of keep going on with this traditional form of art because of mechanization, modernization, and urbanization. Rickshaws are gradually being withdrawn from selected streets of the larger cities. There is a doubt that this will eventually affect the traditional art form. If this continues to happen, the big cities will have no more rickshaws which is really a big threat to the art form. Some people also oppose rickshaw pulling because this is a very hard physical labor-oriented occupation. But if rickshaw gets withdrawn from the big cities there will be a risk to lose the tradition and it will affect the economy and living of the people related to this. nThe traditional artisans of rickshaw painting are somehow facing some problems to keep going on with their traditional livelihood. They complain that they are not getting enough earing from rickshaw painting these days. They paint rickshaws with their hands. But nowadays there are other available digital paint forms like screen printing which costs three or four times less than the hand paintings. So the rickshaw owners are preferring to buy these screen printings. nRickshaw painting is one of the most tangible forms of intangible cultural practice. This art is considered 'peoples art. The painted rectangular metal board at the backside, between the two wheels, leaves a trail of passion that the Rickshaw artist puts in his creations. This craftsmanship requires knowledge and skills which is transmitted from the early rickshaw painters themselves. nSome young students of Charukola, Dhaka University; one of the most influential fine arts institutes of the country, have expressed their thoughts on the safeguarding of this unique art form. They are also trying to revitalize this traditional form of art. They are trying to make it popular among the urban upper and middle-class society. They suggested using this form of art on other products like dresses, mobile phones, and other accessories. nAs the genre of the rickshaw paint is dying down due to digital printing and other such technologies, some young Bangladeshi artists are trying to bring back rickshaw art and promote it by hand painting on modern, innovative products. They are trying to convert the traditional form of rickshaw art into a modern form of art. \n\nThe youth of Bangladesh is very much connected to this intangible cultural heritage and they are finding their way to safeguard and promote it in this era of digital printing. While we can feel the risk of diminishing this art form, It is a light that young people who are parts of institutional or formal fine arts are trying to safeguard and promote the knowledge and tradition of the painting. They are also taking steps to preserve and protect the form of art .

In a small lakeside village in central Kazakhstan, a former history teacher and journalist, Togaybay Nurmuratuly, has dedicated his life to reviving the lost traditions of Kazakh craftsmanship. Disturbed by the decline of authentic handmade wooden goods and the disappearance of ancestral knowledge, he left a successful career in the capital to found a free school of traditional crafts in the village of Ozernoye.\n\nWorking primarily with birch, Togaybay carves dishes, trays, and cultural items adorned with ancient Kazakh ornaments like qoshqar muyuz (ram’s horns), a symbol of vitality and prosperity. Despite having no formal training, he taught himself the techniques of woodworking and has since passed on his knowledge to over a hundred students across Kazakhstan.\n\nAlongside him, his wife Gulbarshyn Zaitzhankyzy—an ethno-designer and expert in felting—teaches women to sew traditional Kazakh clothing and accessories using ancient materials and motifs. Together, they have created a community that reconnects Kazakhs to their cultural roots while helping learners build sustainable livelihoods.\n\nTheir school offers not only craft training but also guidance on entrepreneurship, production, and promotion—helping modern artisans blend tradition with technology. With ambitions to expand into blacksmithing, build an ethnographic village, and establish a Kazakh national brand of handmade products, the couple’s vision is reshaping cultural preservation in Kazakhstan.\n\nThis is more than a story about wood and wool—it's about identity, resilience, and the belief that tradition, when nurtured with passion, can forge a future as strong as its past.

This is an original dance reconstructed based on traditional dances of Bali. To the Balinese, dance is a form of religious ritual performed according to the Balinese calendar. The traditional dances of Bali are inspired by nature and represent traditions, customs and religious value. The Balinese believe that the movements of traditional dances express the views of nature, while the mudra (hand movements) are related to their daily lives, laws, faith and customs. Traditional Balinese dances can be performed by both male and female dancers, who wear elaborate traditional costumes of bright colors, imprinted with flora and fauna patterns in gold foil, and decorated with accessories adorned by golden leaves and jewelry. The dance moves are very complex and precisely detailed. Dancers are required to possess not just skill, but also inner beauty (taksu), charisma, modesty and restraint, along with special spiritual power to bring the dances to life.\n\nDances performed in the many communities of Bali are typically transmitted through unofficial channels from elders to children in the traditional sekaa groups. The traditional dances of Bali are cultural heritage containing the customs and culture of the Balinese, and an important part of the identity of a community. The three genres of traditional Balinese dances were inscribed to the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2015.\n\nCharacteristics:\n∙An original dance reconstructed from the three genres of traditional dance in Bali inscribed to the Representative List of the Intangible Cultural Heritage of Humanity in 2015.\n\nPerformed by Dance Company of Jakarta State University\nDirected by Ida Bagus Ketut Sudiasa

This is an original dance created in the 2000s, based on the popular Indonesian dance of 'Jaipongan' created by Bandung-born choreographer Gugum Gumbia Tritasonjaya in the 70s, which was in turn inspired by the Ketuk Tilu folk dance of the Sunda tribe in West Java. It is typically performed by a group of 4 to 8 young young women, characterized by dynamic movements of the hips, arms, shoulders, head and hands, accompanied by steps. The dancers wear brightly colored traditional Sunda attire called ‘kebaya’, specially designed to reveal their figures, and use scarves and fans as accessories. The Bajidor Kahot is an interesting example of the ups and downs of a local folk dance, once discounted in comparison to so-called aristocratic dances in the colonial era, being revived and developed into a dance of nationwide popularity, bringing all generations and groups of people together.\n\nCharacteristics:\n∙Composed of 4 to 8 female dancers\n∙Makes use of fan as accessory\n\nPerformed by Marwar Budaya Dance Atelier\nDirected by Artistic directorMaria Sofia Trimawarsanti\nChoreographed by Maria Sofia Trimawarsanti

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.

ICH Video Production in the Asia-Pacific Region : Central Asia\n\nRapid urbanization and westernization are changing the environments in which intangible cultural heritage is rooted. The importance of documentation that traces the effect of social changes on intangible cultural heritage is being emphasized as a safeguarding measure. Quality video documentation is an important resource that enables the conservation and transmission of existing intangible cultural heritage and raises its visibility.\n\nVideo documentation is the best medium to record intangible cultural heritage in the most lifelike manner, using the latest technologies. It is also an effective tool for communicating with the public. However, conditions for video production in the Asia-Pacific remain poor, requiring extensive support for quality video documentation.\n\nICHCAP has been working to build the safeguarding capabilities of Member States and raise the visibility of intangible cultural heritage in the Asia-Pacific by supporting the true-to-life documentation of intangible cultural heritage as this heritage is practiced and cooperating with experts, communities, and NGOs in related fields.\n\nSince 2010, ICHCAP has hosted annual Central Asian sub-regional network meetings with Uzbekistan, Kazakhstan, Kyrgyzstan, Tajikistan, and Mongolia to support the ICH safeguarding activities of Central Asia. Through their collaboration, ICHCAP has supported projects involving collecting ICH information, producing ICH websites, and constructing ICH video archives.\n\nAt the Sixth Central Asia Sub-regional Network Meeting in Jeonju in 2015, ICHCAP, four Central Asian countries, and Mongolia adopted a second three-year cooperation project plan on producing ICH videos to enhance the visibility of ICH in Central Asia.\n\nICHCAP developed guidelines and training programs for the project and invited video and ICH experts from the participating countries, and held a workshop in November 2015. After the workshop, focal points for the project were designated in each country, and each focal point organization formed an expert meeting and a video production team to produce ICH videos.\n\nInterim reports were submitted to ICHCAP in February 2016, and the first preview screening was held in Dushanbe, Tajikistan, during the Seventh Central Asia Sub-regional Network Meeting in May 2016. Since then, each country has carried out the project according to the project plan. ICHCAP met with each country between October 2016 to February 2017 to check on the project progress.\n\nAfter the final preview screening during the Eighth Central Asia Sub-regional Network Meeting in Bishkek, Kyrgyzstan, in 2017, final editing process took place in each country, and fifty ICH videos were completed by October 2017.\n\nAll photos introduced on this page along with fifty ICH videos are from the exhibition 'Living Heritage: Wisdom of Life' held in the Republic of Kyrgyzstan and the Republic of Korea. Designed for introducing various ICH in the five countries, this exhibition shows photos on representative twenty elements in each country collected during the process of on-site survey and documentation for ICH Video Production Project in Central Asia by experts participated in the ICH video production project.\n\nICHCAP will continue its ICH documentation projects in the Asia-Pacific region for the next ten years by expanding the scope from Central Asia and Mongolia to Southeast Asia, Southwest Asia, and the Pacific.\n\n\nPartners\nMongolian National Commission for UNESCO • National Commission of the Kyrgyz Republic for UNESCO • National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • National Commission of the Republic of Uzbekistan for UNESCO • National Commission of the Republic of Tajikistan for UNESCO • Foundation for the Protection of Natural and Cultural Heritage Mongolia • National Committee for the Safeguarding of the Intangible Cultural Heritage under the National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • School of Fine Art and Technical Design named after Abylkhan Kasteyev • State Institute of Arts and Culture of Uzbekistan • Tajik film • Tajikistan Research Institute of Culture Information • Korea Educational Broadcasting System • Asia Culture Center\n\nSupporters\nUNESCO Almaty and Tashkent Cluster Offices • Cultural Heritage Administration • Panasonic Korea • Turkish Airlines

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

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.

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. 

2019 World Forum for Intangible Cultural Heritage

The sixth sub-regional networking meeting took place in Pacific Harbor, Fiji, in April 2015. The meeting was organized by ICHCAP and the Department of Heritage and Arts of Fiji in collaboration with the UNESCO Office in Apia.\nThis meeting report includes presentation materials from the sub-regional meeting as well as summaries of the meeting with the intent of providing information to promote international cooperation among experts and institutions in the ICH safeguarding field in the Pacific region.

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 3 is 'ICH AND TEXTILES'.