The rich folklore of the Kyrgyz people is an important historical and cultural phenomenon developing over many centuries and spiritually and artistically valuable. As an inexhaustible source of people’s wisdom, it reflects the history, life and social, political and spiritual ideals of the people. The oral folklore is the basis of our unique cultural heritage. Due to the harsh conditions of the nomadic life, endless clashes with enemies and invaders, and long distances of migration, the Kyrgyz people have not preserved their spiritual culture in the stone monuments of architecture, papyrus or clay writings but have preserved it in their memory for more than two thousand years of history. Memory proved to be good enough for keeping millions of lines of epic songs and works, which have been passed from generation to generation and reached the present day.

Throughout their history, the Kyrgyz people have lived nomadically, which then determined the direction of their cultural and spiritual life. This idea comes to life quite easily when examining the intricacies of Kyrgyz folk art and epic poetry, in particular. The main core of Kyrgyz epic poetry is Manas.

Kyrgyzstan, a landlocked country the territory of which is more than 94 percent mountainous, is among the most attractive lands located at the heart of Asia on the ancient Silk Road trade routes. The cultural heritage of the Kyrgyz people has been greatly influenced by their nomadic history. Kyrgyz people occupy a unique cultural environment and have a rich ICH. The vitality of this cultural heritage is safeguarded and transmitted from generation to generation as collective memory, orally or through practice and expression.

The oral tradition of the Kyrgyz people is the basis of a unique intangible cultural heritage that reflects Kyrgyz cultural identity. Oral heritage, developed over centuries, depicts the history and culture of the Kyrgyz people. Their creativity has been proven to survive exclusively in an oral form for many generations. This oral tradition represents a unique layer of traditional knowledge, making it a valuable source of cultural and traditional values and evidence of the development of the sociopolitical history of the Kyrgyz people. Kyrgyz oral heritage takes a wide variety of forms, including songs, fairy tales, proverbs, and riddles. These can all be different in terms of content and structure. Depending on the genre, oral tradition can reflect history, legends, fairy tales, or lore, which can be important in educating younger generations about the value of peace, attitudes toward nature and people, and love for the motherland. Many traditional oral works portray the main characters as defenders of their native land, arousing a sense of pride, and also depict the rich nature of the Kyrgyz land, nourishing love for their home. Some elements of oral tradition such as songs and folktales tell the stories or the specificities and peculiarities of the everyday life of Kyrgyz people. Folktales also reflect the esthetic views of the Kyrgyz people and teach us to recognize beauty, rhythm, and skillful use of language.\n

Manas is the largest Kyrgyz epic and the name of its main character—the hero, who united the Kyrgyz. Manas is included in the UNESCO list of masterpieces of the intangible cultural heritage of mankind, as well as in the Guinness Book of Records as the most voluminous epic in the world. The Manas epic is divided into three parts: “Manas,” “Semetey.” and “Seytek.” The main contents of the epic are the feats of Manas. The Sagymbai Orozbakov (1867–1930) and Sayakbay Karalaev (1894–1971) Manas versions are considered classics. Modern scholars have not come to a consensus about when the epic originated. Hypotheses put forward indicate that it is connected with events of the Kyrgyz people of the ninth century. Some historians believe that the historical background corresponds to conditions of the fifteenth to eighteenth centuries but that it also contains more ancient ideas. Also, many historians point out that the epic time in Manas is not mythical, but historical.\n\nLast year, there was a youth hackathon event to create multimedia contents on intangible cultural heritage. Uluu Ash, a motion comic based on Manas, was made at this event. A motion comic is one in which sound or music is added to illustrations, and some pages show moving pictures, which is different from an animation with moving pictures throughout.\n\nAk Shumkar KUT public association, a Kyrgyz NGO, implemented the motion comic project with the support of the Institute for Sustainable Development Strategy, public foundation. During the hackathon, project participants developed a demo version of the mobile application named Manas, and a script was written for the motion comic. Later, the film working group, which included animators, artists, journalists, scriptwriters, musicians, and Manas reciters, continued to work and eventually made the film.\nUluu Ash, the film’s title, is one of the most important scenes in the epic. The glorious Kyrgyz Khan Kekötöy, having reached old age, leaves a testament to his son Bokmurun with instructions on how to make a burial and how to arrange all the posthumous rites. He also bequeaths to seek advice from Manas. Having buried Kökötöy, Bokmurun prepares a memorial service for his father. Manas takes over the entire administration. Many visitors from distant countries come to the ceremony. The Kyrgyz people gathered the representatives from Asia and Europe. The more important point in this ceremony was the advice of wise men and brave warriors at the end of the commemoration, which is described in the film.\n\nDuring the hackathon, an informal platform was formed to generate ideas for promoting elements of intangible cultural heritage among young people. This platform has its further development as a club for young creative minds to enhance comprehension and promote traditional culture. One of the products of the event was a mobile application of Manas. The application is informative and educational. It has been growing with subsequent addition and expansion of its content. This epic product is being made for the first time, and hopefully will provide a good example for young people to show the possibility that spiritual and cultural heritage may even now be the most vital element determining future and development prospects.\n\nphoto 1 : Capture from the Uluu Ash motion comic ⓒ Ak Shumkar KUT Public Association\nphoto 2 : Showing the Manas mobile application ⓒ Ak Shumkar KUT Public Association

The punnuk is a tugging ritual of the village folk from three communities in Hungduan, Ifugao in Northern Luzon, Philippines. It is performed at the confluence of Hapao River and a tributary as the final ritual after the rice harvest. Its consummation brings to a close an agricultural cycle and signals the beginning of a new one. \n\nThe punnuk is a ritual of pomp and revelry. Garbed in their predominantly red-col-ored attire of the Tuwali ethno-linguistic subgroup, the participants negotiate the terraced fields in a single file amidst lush greens under the blue skies. The tempo builds up as the participants reach the riverbank, each group positioned opposite the other. The excitement is sustained through the final tugging match, and the sinewy brawn of the participants is highlighted by the river’s rushing water.

Since our establishment in Guam in 2004, the Håya Foundation desired to facilitate the creation of a social and cultural environment that would allow for the revitalization of traditional Chamorro culture. The cultural preservation and revitalization efforts, in the beginning, laid the necessary foundation for social re-acceptance of traditional healing practices.

Since the United Nations Educational, Scientific and Cultural Organization (UNESCO) was initiated in 1946 to promote world peace and development based on international understanding and cooperation, there have been continuous efforts to safeguard cultural heritage of humanity. However, it is undeniable that tangible cultural heritage, which includes natural and cultural heritage, received greater emphasis than intangible heritage. The Convention for the Safeguarding of Intangible Cultural Heritage adopted in 2003 in Paris ("2003 Convention" hereinafter) is regarded as a milestone that changed the historical perception and marked a turning point.

The traditional martial art concerned here is divided into two currents belonging to the same founding lineage: 心意拳 (lit. Intention Fist boxing) and xingyiquan形意拳(lit. Form and Intention Fist). It saw significant development in northern China, especially in Shanxi Province, during the middle of the 18th century, and in Hebei Province at the beginning of the 19th century. Today, both styles are practiced well beyond China and are presented in various traditional or sporting forms. The traditional practice is composed of ritual initiations, alchemical, curative, and psychophysics exercises closely linked to the ancient Chinese concepts of cosmological thought and folk religions. The combat techniques (bare hands and traditional weapons) embody popular warlike traditions hypothetically attributed to the handling of a military spear dating back to the 12th century in Henan Province.\nWhat is historically certain, however, is that this art was deeply influenced by the merchant culture of Shanxi Province from the 19th to the beginning of the 20th century (Liu and Qiao, 2014). Thanks to migratory movement along ancient Eurasian trade routes in late imperial China, it has progressively become an inherent part of the local knowledge of trade caravan organizations called 鏢局. The mutual influences between martial art and merchant culture have brought about the emergence of new social category, 鏢师. They shaped local knowledge that comes in a variety of forms and contextual applications: communicative competence and jargon for cooperation (Chircop-Reyes, forthcoming), trade and veterinary sciences, handcrafts, visual capacity, hearing ability, olfactory sensitivity, and defensive skills.

Gender equality is a core value of the international community, being one of the 17 sustainable development goals and crosscutting into 9 other goals such as zero hunger, health and nutrition, quality education and decent work. The 2003 Convention also stresses that heritage safeguarding and transmission activities shall be compatible with human rights and relevant policies shall be without discrimination, covering the concept of gender equality. More specifically, Chapter 6 of the Convention’s Operational Directives states, “States Parties shall endeavor to foster the contributions of intangible cultural heritage and its safeguarding to greater gender equality and to eliminating gender-based discrimination.”(UNESCO, 2016) A 2018 report from the UNESCO evaluation body mentioned the following in its review of nomination files. Firstly, majority of nomination files lacked explanation regarding gender roles and the participation of both genders in nomination and safeguarding. Second, the Convention does not expect equal participation by both genders, but rather hopes to understand the different ways the heritage is experienced by the respective genders, what the gender roles are, and whether they have equal rights with respect to safeguarding (UNESCO, 2018). Although gender is a topic of great interest internationally, there hasn’t been much discourse on the relationship between intangible heritage and gender. Thus, this presentation looks at the value of gender considerations in intangible heritage safeguarding.

Coming from a formerly colonized and currently developing country like the Philippines, advancing cultural heritage education becomes imperative. Cultural heritage education potentially stems the negative impact of globalization on culture. It can also dismantle the framework of neocolonialism in formerly colonized states whose educational systems were established by colonizers. While these promises of what cultural heritage education can do are easily identified, crafting a higher education degree program in cultural heritage, especially intangible cultural heritage, has many ramifications. This paper problematizes the challenges in the development and institution of a higher education degree program in intangible cultural heritage. Specifically this paper will attempt to raise and discuss issues that (may) surface in the development and institution a higher education degree program in intangible cultural heritage in the light of current higher education systems, practices and processes using primarily the context of the Philippines as a developing country. National higher education policies, program structure and content, pedagogy as well resources for teaching, and career prospects and employability are the areas which shall be problematized in this discussion. While the discussion is primarily on the context of the Philippines, the discussion can possibly have reverberations in developing countries.

The major veins of definitions regarding shamanism in Japanese academic discourse can be summarized as follows. The shaman is an individual with the magico-religious professional capacity to directly engage with spiritual being while under an altered state of consciousness (trance) to fulfill various roles and functions such prophecy, oracle, divination, performance of rituals and healing. Shamanism is a magico-religious phenomenon constructed of a supernatural worldview, rites, clients and followers centered around the shaman. It is believed to have existed in continuity from the prehistoric era to the present day (Sato, 2010). Buddhist monks, Catholic priests and Protestant pastors belong to the priest category of religious actors who offer prayer and conduct rituals on behalf of individuals or the society directed at spiritual beings in a unidirectional relationship and under a normal state of consciousness. On the other hand, Shamans are religious actors who perform various roles in direct interaction with spiritual beings.