The Shinjé Yabyum dance is a display of Yamāntaka, performed by two dancers wearing red bull masks, silk robes, vajra shoulder covers, and traditional Bhutanese leather boots. They each hold a sword symbolizing the wisdom that cuts through ignorance. The dance is accompanied by a musical orchestra constituted of a cymbal and long horns. During the entry and the exit chapters, oboes are also played. \n\nVajrayāna rituals including sacred cham require the stage to be cleansed of negative forces. Thus, the female and male wrathful forms of Mañjuśrī chase evil forces and bless the ground as sacred space. This action of delimiting the ground is called sachag, or establishing the ground. The dance is also performed as a piece during the dance tests, which the dancers perform without wearing masks. The dance is often performed by the dancers who are next to the two chief dancers, these being the first and the last dancers.\n\nDuring this dance, the master clown often appears to make fun of the two bull-masked figures, pretending they are bullocks and he is a ploughman. The movement of the dance, like most other cham, alternate between slow and peaceful motions and fast violent movements. \n\nNote : The text above is an excerpt from the collection of essays from the Bhutan Cultural Library (https://schopheltrashigangpa.wordpress.com/) and adapted with the information provided from the National Library and Archives of Bhutan.

Basket Making, Kalash, Chitral

Master Orn Sok making mask when he was alive

Fan for Buddhist Monk dignity, with long handle

The Vugalei Chiefdom is renowned for its iconic traditional basket known as Voco. Savu village is straddles the center of the chiefdom. Tributes of fish pass through Naimasimasi Village on its way to the village of Sote, Natuva and Nameka resting at Savu village along the way. Savu village provides the Voco basket before it is carried to Sote Village. The exchange from Sote Vilage is pork, which passes through Savu and carried to Naimasimasi Village. This is an age old expression of the warrior-chief relationship from these villages to the Ratu of Verata chief. The basket is woven from a kind of climbing pandanus known as wa me. \n

Having originated in bhani, a type of drama, mentioned in at least 10th century inscriptions of Cambodia, Lkhon Khol today is performed by males, wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. It performs only episodes from Reamker, a Cambodian version of the Indian Ramayana.\nLkhon Khol Wat Svay Andet is distinct from the generic form because its specific aim is to propitiate Neak Ta (guardian spirits of a place and its people; in this case the community of Wat Svay Andet), and in so doing, protect and make prosperous the community, its lands and harvest. When Lkhon Khol is performed especially during a fixed date after the New Year, spirit mediums are presented to facilitate interaction between the Neak Ta, performers and villagers. Spirit mediums, who predict the situation for the upcoming year, attend the performance and become possessed by the Neak Ta and then might get on the stage. When the spirits are satisfied by the performance, villagers are blessed by them, and if not, dancers will stop; the music continues; and the audience will fall silent and carefully listen to the spirits. Then the episode must be performed again. nIn Wat Svay Andet, Lkhon Khol has such spiritual significance in the community that some Reamker characters have become local deities in themselves. For example, on the campus of the monastery, a shrine for Hanuman (Monkey General) locally called Lok Ta Kamheng is built and venerated. The mask for Tos Mok (Ravana, King of the Demons) also lives and is venerated in a spirit house at the home of the family that has danced that role for several generations. In addition to the intrinsic specificity of the Wat Svay Andet form, some external differences are noted, such as the fact that three of the key roles are not masked. In fact their faces are painted white, indicating that they are neither mortals nor gods. The costumes, which are very refined with magnificent embroidery, are also different especially from those of the Battambang Troupe. Melodies for recitations are also different and richer. nLkhon Khol Wat Svay Andet is not performed by professional artists, but by the villagers themselves, and they do not perform for money but for merits and their community’s well-being. Everyone in the community is obliged to contribute, either by direct participation in the performance or by sharing support, e.g. financial or labor. Even villagers, who have migrated for work, tend to come back for the ritual and believe that if they don’t come, they could be struck by illness or bad luck.

Masks and mask dance exist through which they try to realize equality and be free from judgement, allowing you to express yourself as an equal in society regardless of class. The mask dance festival starts on the last Friday of September and lasts for ten days, and over a million people visit domestically and internationally. It has garnered attention from world leaders. Queen Elizabeth II of the UK, George H. Bush and George W. Bush of the USA, UN Secretary General Ban Ki Moon, and other influential leaders have attended. The festival is about mixing modernity with tradition coming together, creating a mosaic of different colors and cultural significance. They use the mask dance festival as a collaborative tool that can bring various cultures together. The mask dance festival also plays a large role in transmitting the heritage to younger generations through various associations that function as a network.

In the first October 2009 at Dubai, Unesco was held to provide a determination that batik is a World Cultural Heritage object belonging to Indonesia, the intangible of herritage.Danar Hadi Batik Museum is a private batik museum belongs to Mr. H. Santosa Doellah, he is the owner and the founder and now occupies as the President Director of Batik Danar Hadi Comapy. The museum was opened by Ms. Megawati Soekarno Putri on 20 October 2000.we use a storyline or theme by the title "batik the influence of time and environment" batik the impact of time and environment.It is precisely from the batik of the Keraton that actually the Intangible values was emerged, because the making of batik in the Palace was carried out by the Keraton's daughter, the king's wife, and the king's children. It is not only for daily needs, but also for the needs of a customary procession. So in making batik must be preceded by meditation, praying, fasting, so that batik patterns are formed.For the example, Truntum batik patterns. This truntum pattern was created during the reign of Pakubuwana III. At that time, Kanjeng Ratu Beruk who was the consort of Pakubawana III could not give the crown prince. So Pakubuwana III is returned to the Keputren. In her sadness, Kanjeng Ratu Beruk or her title is Kanjeng Ratu Kencana. She asked for the guidance for praying to Allah. After fasting for a long time in doing meditation, apprehensive, she suddenly wanted to make a batik.after a while Sunan Pakubuwana III attended at the Keputren to see Kanjeng Ratu Beruk in making batik. Then he was asked the name or motive of the pattern. But answered by Kanjeng Ratu Beruk "no idea" what it's called, he made batik just to forget his sadness and ask for guidance from God Almighty.The arrival of Pakubuwana III apparently continued with subsequent arrivals. When the batik is finished, Pakubuwana III is also touched by the perseverance and the spirit of Kanjeng Ratu Beruk to finish the cloth, So Pakubuwana III was asked Kanjeng Ratu Beruk to return to the palace. After giving thanks to God Almighty, Kanjeng Ratu Beruk returned to the palace and she named the Truntum, which means he reunited with Sunan Pakubuwanan III. It means reverberated Sunan's love for her and she hoped, it would be the last forever. Therefore, until now at the Javanese traditional wedding ceremony in Surakarta style, the Truntum pattern is always worn by the bride and bridegroom.

DVD2_NEPAL'S HEREDITARY MUSICIAN CASTES\n\nThe four hereditary musician castes of Nepal are Damai, Gandharba, Kapali, and Badi. The most visible of these are the Damai and the Gandharba musicians. The Kapali are temple musicians and the Badi are drum makers. Damai are required to play for the goddess of the ruling class and also to play at all types of ceremonies and rites of passage, such as weddings and Bratabhandha. They perform in a group known as a panchai baajaa, which is composed of nine musicians playing seven different musical instruments representing the five universal elements of earth, water, fire, air, and sky, of which all matter and living things are composed. The tyamko represents earth, the damaha represents water, the jhurma represents fire, the dholaki represents air, and the narasingaa, sahane, and karnal represent the sky. Panchai baajaa music is believed to keep the elements in balance and harmony and to result in therapeutic musical healing. The Gandharba or Gaine caste musicians traditionally travel from village to village and door to door singing bhajan (hymns), songs from the great Hindu epics, and karkha (historical songs of heroes and bravery), but also bring news. They accompany themselves by playing saarangi.

This is a women’s folk song sung during the Teej festival. It is a conversation between a father and daughter. The father tries to persuade the daughter to marry a man who has come to the house to ask for her hand. The daughter asks questions about the man's personality, his house, and his lifestyle to which her father replies that he will be the best fit for her. The tempo of the song is medium.

“Swasthani Mangalacharana” is chanted in the evening before reciting each chapter of Swasthani Bratakatha to pray to ask God to listen to the chanting from this holy book, accept the worship, and give his blessing. Swastani is a Hindu legend about the goddess Swasthani and Lord Shiva.

Marriage to the Nùng ethnic minority is not merely that of a couple but has a greater meaning that is the ritual of community cohesion, keeping the ethnic group’s cultural identity. A wedding ceremony takes place in accordance with certain traditions and customs, such as bride and groom welcoming, ancestor worshiping, groom receiving; asking for a bride welcoming, etc. In the celebration to ask for the bride, the heads of the groom’s family will play music or sing to ask for the bride, and the bride’s family also plays music or sings in response. The instrumental music in Nùng weddings is mainly performed by men. Musical instruments may include the nhị (two-string fiddle), wind instruments, and cymbals.

Katta Ashula (a song performed with a plate) is specific to the Ferghana Valley of Uzbekistan. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, Katta Ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style. Katta Ashula developed from basic traditional events in history, from labour songs, and from different styles of ghazal verses. Usually, Katta Ashula is performed in big gatherings, festivities, and party celebrations.\n\nKatta Ashula songs were performed professionally and further developed by famous Khofizes such as Erkaqori Karimov, Turdiali Ergashev, Matbuva Sattorov, Jo'rakhon Sultonov, Mamurjon Uzoqov, Boltaboy Rajabov, Orif Alimakhsumov, Fattohkhon Mamadaliev, Jo' rakhon Yusupov, and Khamroqulqory To'raqulov. Today, Katta Ashula is masterfully performed by experienced singers with the highest skill, such as Khalima Nosirova, Munojot Yo'lchieva, Ismoil and Isroil Vakhobovs, and Mahmud Tojiboev.

CD7_WOMEN SONGS FROM THE TEEJ FESTIVAL\n\nTeej, or Haritalika Teej, is a festival celebrated by Hindu women and girls all over Nepal in August. Women dance, sing, fast, and perform prayer rituals. The festival is dedicated to Lord Shiva. Unmarried girls keep a fast wishing to get a good husband whereas married women fast to wish for long life and prosperity for their husbands. Since this festival is celebrated by females from all ethnic groups, an array of folk songs and melodies are sung and performed throughout the festival.

Lapar performing arts, as an ancient folklore genre of people’s creation, has a rich history. Lapar songs are performed by famous artists during holidays, public festivities, and wedding parties as well as in a bride’s house in the evening during ‘Girls’ Evening’, ‘Girls’ Party’, and ‘Lapar Night’. Girls and boys perform Lapar songs composed of four-lined ghazals in two groups. Through Lapar songs, girls and boys express their love for each other, make decisions, and take oaths. They sing their heart’s grief with a certain melody but without any music. If both the girl and the boy who are singing Lapar fall in love with each other, they present gifts to one another. If the boys present flowers to girls, the girls present a kerchief, belt-kerchief, handkerchief, perfume, or some other gift.\n\nLapar songs are mainly composed of four-lined verses and are performed in the form of a dialogue between two parties. If they resemble o'lan songs from these features, they are distinguished by the ideas, literary references, descriptive objects, and the lifestyle that are sung in the lyrics- the level of thought is more highly developed by images. \n\nLapar songs were performed and became increasingly better known through the work of famous Lapar singers, such as Lutfikhonim Sarimsoqova, Tamarakhonim, Lizakhonim Petrosova, Gavkhar Rakhimova, Oykhon Yoqubova, Guishan Otaboyeva, To'khtakhon Nazarova, Qunduzkhon Egamberdiyeva, and others. To pay more attention to Lapar and o'lan songs, to collect them, to support the performers, and to publicise their creative work to the broader community, the Traditional Republican Festival of Lapar and O'lan performers is regularly conducted by the Republican Scientific and Methodological Center of Folk Art under the Ministry of Culture and Sports of the Republic of Uzbekistan.\n\n\n\n

O`lan is a genre of people's oral creation. Mainly, it is performed by women with or without doira accompaniment. At Uzbek parties and celebrations, the O`lan is sung by a girls' team on one side and a boys' team on the other side, or it is sung by two people who take opposing sides so they can perform as though they are having a dialogue.\n\nYor-yor is a folk song performed at a wedding celebration when the bride is seen off. In ancient times, it was widespread among Uzbek, Tajik, Uygur, and Turkmen people. Yor-yor consists of two or four lines; at the end or in the middle of each line are the words 'yor-yor, aylanaman' (my beloved one, I am enchanted). Usually, yor-yor is accompanied by doira music performed by women. The high effect of yor-yor is that it simultaneously harmonises sadness with a merry melody, tone, and the mood of holiday joys. In yor-yor songs, the bride's features, wishes, cherished dreams, and congratulations to her are praised. \n\nThe Republican Scientific and Methodological Center of Folk Art under the Ministry of Culture and Sports of the Republic of Uzbekistan, in cooperation with the National Commission of the Republic of Uzbekistan for UNESCO, organised an expedition to Ferghana Valley to research and classify intangible cultural heritage samples as well as to inventory and define the bearers of this heritage. The expedition team recorded samples of O'lan songs from ICH bearers and transmitters of intangible cultural heritage, including Xayrullo Mirzayev, Hanifa Mirzayeva, Inoyat Rafiqova, Makhbuba Yo'ldosheva, Baxtiyor Turg'unov, Zebikhon Abdunazarova, Ko'paysin Oqboyeva, and Qo'zikhon Siddiqova.

Audio and Video Materials Collected from the Onsite Survey in the Ferghana Valley_2012 Uzbekistan-ICHCAP Joint Cooperation Project of Producing Digital Contents on ICH\n\nThe glorious intangible cultural heritage (ICH) of Ferghana Valley encompassing the state of Ferghana, Andijion, and Namangan in Uzbekistan includes oral traditional, performing arts, traditional rites and festive events, and traditional crafts. However, this heritage is largely unknown to the public in the nation and abroad, and it is fading out even more rapidly due to the young generation’s lack of interest.\n\nSince 2011, the four Central Asian countries, including Uzbekistan, have been implementing a three-year project, Facilitating ICH Inventory-Making by Using Online Tools for ICH Safeguarding in the Central Asian Region as a Central Asia–ICHCAP cooperative project. In the framework of the project, the countries have collected ICH information and tried to build an online system for managing the collected information.\n\nIn Uzbekistan, the Republican Scientific and Methodological Centre of Folk Art, under the Ministry of Culture and Sports of the Republic of Uzbekistan, in collaboration with the National Commission of the Republic of Uzbekistan for UNESCO, implemented the three-year project. They collected information on ICH elements in the Ferghana Valley (Andijan, Namangan, and Ferghana regions), Zarafshan Oasis and Southern Uzbekistan (Jizzakh, Samarkand, Kashkadarya, and Surkhandarya regions), and the Republic of Karakalpakstan (Navoi, Bukhara, and Khoresm regions) through onsite surveys from 2012 to 2014.\n\nIn 2012 when the first onsite survey was concluded, Uzbekistan and ICHCAP selected representative materials among collected videos, audios, and photos on ICH elements and ICH bearers, and compiled the materials as a ten-CD/DVD collection. Also, booklets in English, Uzbek, and Korean were made to spread related information to a wider audience.\n\nFerghana Valley is also home to Tajikistan, Uighers, and Turkistan. In the other words, different traditions co-exist in the same place. ‘Katta Ashula’, which integrates arts, songs, music, and epics, is one Uzbek cultural heritage representing the identities of the diverse people live in the valley\n\nThe collection could preserve the disappeared and disconnected ICH and encourage increased mutual understanding and communication by spreading the information widely from the experts to the people.

Lialiaci is a publication of the iTaukei Institute of Language and Culture, Ministry of iTaukei Affairs. Lialiaci means to ponder or reflect upon deeply. \nThat is the intent of these articles and perspectives on culture.

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 11 is 'ICH AND WEAVING WITH BARK AND PLANTS'.

Oral tradition consists of diverse narratives. It is passed on by word of mouth as everyday wisdom and transmitted through the generations. After that, it becomes infused in a region’s history, philosophy, and way of life, thus forming the foundation for a community’s knowledge systems. This volume introduces traditional tales in Sri Lanka, Palau, Kyrgyzstan, and Vietnam.

Communities in the Asia-Pacific region greet the New Year at different times depending on region and religion. Communities celebrate a new beginning with traditional songs and dances. This volume introduces traditional performing arts to celebrate the beginning of the New Year in Japan, Nepal, Micronesia, and Myanmar.