유네스코아태무형유산센터는 ICHNGO FORUM #HeritageAlive와의 공동협력으로 무형유산 종목도서인 리빙 헤리티지 시리즈 <전통악기>편을 발간하였습니다.\n\n다섯 번째 출판되는 리빙헤리티지 시리즈 <전통악기> 편은 아프리카, 아시아, 유럽의 사례를 소개하는 15명의 저자들의 원고를 담고 있습니다. 특히 저자들은 전승 위기에 처한 전통 음악의 현황을 공유하고, 2003년 협약이 강조하는 활성화 방안에 관하여 서술하고 있는데요, 음악이 가진 치유의 힘을 보여주는 책이라고 할 수 있습니다.

The culture in the East Coast of Malay Peninsula are rich in visual and performing arts inherited over time immemorial. The art is also found to have similarities in three different states, despite their geographical gap. The similarities are shared in dialects, languages, presentations, builds, and past legacy artifacts. The Malay craftsmanship is also dominated by the Malay community in the East Coast and it is also produced in the form of art and fashion. Artifacts such as boats, houses, and furniture are still visible until now and they have high artistic value. This paper is aimed at displaying the various type of Malay traditional boats and symbols produced by the Malay community on the craft of the boat. There are several name of the boats produced by local craftsmen based on their function and usability. For example, a small line boat is used in river and coastal areas, the payang boat used by deep-sea fishermen, and the jokong boat is used to transport heavy goods. The art can be seen in the carvings and paintings produced on traditional Malay boats craftsmen in the East Coast. This art does not only serve as an ornament and for its aesthetics, but also has its own symbolism. The decorative art produced shows that the three main aspects necessary in Malay art are function, aesthetics, and ethics. The belief in the existence of supernatural powers – which preserve and safeguard their safety at sea and their ability to get income from marine products – underpins the craft of this decoration art.

The Azerbaijani Carpet Makers Union (ACMU), founded in January 2010, is a voluntary self-governmental public association of citizens rallied to support Azerbaijani carpet weaving.The ACMU seeks to promote a revival of the powerful spiritual heritage of carpets, the national traditions of the Azerbaijani people, a consolidation of the creative potential of seen figures of society and culture, support for talented children and youth, and creative carpet dynasties. The purpose of the ACMU is also to convey objective information about the unique national culture, rich historical heritage, and diversity of the carpet art of Azerbaijan to the international community.

The Azerbaijani Carpet Makers Union (ACMU), founded in January 2010, is a voluntary self-governmental public association of citizens rallied to support Azerbaijani carpet weaving. The ACMU seeks to promote a revival of the powerful spiritual heritage of carpets, the national traditions of the Azerbaijani people, a consolidation of the creative potential of seen figures of society and culture, support for talented children and youth, and creative carpet dynasties. The purpose of the ACMU is also to convey objective information about the unique national culture, rich historical heritage, and diversity of the carpet art of Azerbaijan to the international community.

The subject of this study is to find out the protection and sustenance ways of Shaman heritage among the Turks of Turkey. As it is known, Turks of Turkey are shaman community in terms of ancient religions and world-views such as Kazakhs, Uighurs, Uzbeks, Turkmen, Altai, Republic of Tuva, Sakha and other Turkish tribes constituting the Turkish World. Majority of the Turks of Turkey migrated from the middle of today’s Mongolia to the shores of Aegean Sea and Balkan Peninsula in the last 1500 years. Another factor complicating this 1500-year migration is the fact that Turks accepted Manichaeism, Buddhism, Christianity and some groups accepted Judaism. Normally while it was expected that they pursued various religions and dispersed in this tens of thousands kilometer square, these Oghuz tribes weren’t assimilated and they assimilated many communities whose administration they undertook within the scope of their control.

Tug of war or tugging game is one of many folk games performed in festivals of someof 54 ethnic groups in Vietnam. In addition, tug of warserves to ensure abundant harvests andstrengthen communityunity and solidarity.

Mehrgan is an autumn harvest festival celebrated during or after gathering a harvest. In ancient times, Mehrgan marked the autumn equinox, and according to an old Iranian calendar, celebrated on the mehr day of the mehr month, equal to 8 October. In the Republic of Tajikistan 15 October is the official day of Mehrgan.

Ulleung Island is a volcanic island, located in the middle of the East Seaand the seventh-largest island (72.94 km²) of Korea, with a population of around 9,000 (as of July 2021). It is accessible only by taking a ferry,\nwhich takes about three hours from the peninsula. It makes the island isolated with unique social, ecological, and biocultural systems like the Galapagos Islands. These systems link people to their environment at the intersection of nature and culture and have created distinctive local foodways. Lately, Ulleung Island has become a trending touristic destination among Koreans and along with advanced transportation, the island is facing social and cultural changes in every aspect of the people’s lives. In this paper, I would like to share my observations from field research.

This paper deals with traditional boat building in our country Traditional boat building refers to boats and other watercraft mostly using wood and other locally-available raw materials in our archipelago. The fabrication and construction methods as well as their operation draw largely from long term indigenous experience in traversing the inland seas in Southeast Asia, the South China Sea (West Philippine Sea) and the vaster Pacific and Indian Oceans. Boat building technology is part of the broader Malayo-Polynesian culture. The major components of this broad culture include the use of Austronesian languages, bilateral family structure, mutually-supportive clans and kinship groups that include maternal and patriarchal affines led by the most able chief. Most important feature of Malayo-Polynesian culture is boat building and sea faring that enabled them to disperse by 1,500 BCE from the core area in Southeast China, Taiwan, Malaya, Indonesia and the Philippines as far as the Madagascar to the west, east to Pacific Island Groups across the Pacific up to the offshore islands of Argentina in South America.

Telugu language is the mother tongue for carriers and transmitters in safeguarding the Intangible Heritage of the Telugu people. We have come up with an interdisciplinary and innovative educational programming that safeguards our intangible heritage of over 53.6 million people in Andhra Pradesh (AP). Our higher educational programming cuts across the five domains delineated in the 2003 ICH Convention of UNESCO. It is an integral part of a systematic safeguarding plan that is unique. I will introduce the framework that enables us to bring together the teaching of intangible heritage in a linguistic environment through six tertiary educational institutions for the Telugu speaking people. I am responsible for the curricula, pedagogy, employment of carriers and transmitters as teachers and performance education in all the six colleges. \n\nWe also address the interface between intangible heritage and language through higher education. Moreover, I will also reflect on my own engagement as a carrier and transmitter of theatre traditions of the Telugu people. My conclusion would advocate that we need to think in new and innovative ways for safeguarding the rich diversity of the intangible heritage of humanity. Our innovative tertiary education programming provides a feasible role model.

The Phnom Penh Vientiane Workshop and Charter were driven by participants who represented museum and heritage leadership from linguistically and culturally diverse communities of South-East Asia and Timor-Leste. Its integrity, from preparation to follow-up, has been overseen by a leadership of entirely Asian linguistic and cultural backgrounds. It was the first of such major initiatives in Asia by the International Council of Museums (ICOM). It addressed the concern that models and methods from developed or rich countries, where heritage contexts are well resourced, may not necessarily work for cultural communities and groups in low economic indicator countries. This concern was prioritised with the significance given to stakeholder or carrier and transmitter communities in the UNESCO 2003 Convention.

The term pastellessa represents an extraordinary combination of food, culture, music, and folklore, an expression of the people of Macerata Campania. It’s a term with a very rich history and tradition, relating to the celebration of a religious event: the Feast of Sant’Antuono (St. Anthony the Abbot).