\n

The drum dancing festival of the Giay ethnic group \n(Mèo Vạc district, Hà Giang province)\nHà Giang - one of the six provinces in the Northeast region of Vietnam has a diverse terrain and mountainous topography divided into 3 distinct regions: the rocky mountainous region includes Đồng Văn, Mèo Vạc, Yên Minh, Quản Bạ, Bắc Mê districts; the western region includes Xín Mần, Hoàng Su Phì districts; and the lowland region includes Vị Xuyên, Bắc Quang, Quang Bình districts and Hà Giang city. Residents in Hà Giang province belong to various ethnic groups such as the H’Mông, the Dao, the Tày, the Nùng, the LôLô, the Bố Y, the Pà Thẻn, the Giáy.\n

Throughout the Pacific, kava is synonymous as the elixir or drink of the gods. Known in various words ranging from kau, sakau, kava, ava and yaqona, the ritual commonality is similar. \nThis video revisits the sacred kava ritual from a retelling of the indigenous spirituality and worldview as far as yaqona, chiefs, mana, power and the people are involved. \n\nYaqona or kava is the best known traditional drink of the Fijians today. You cannot have a meeting or social gathering without it. For all gatherings where traditional customs are observed, one will see a yaqona ceremony. It is used to welcome visitors, install chiefs at initiations and at the completion of communal work; celebrations of births, marriages, at deaths and in almost all phases of life in villages. Not only it is consumed in social gatherings and traditional ceremonies, it has also been used in after-church gatherings by members to express customary respect and consideration for one another. \n\nIn pre Christian Era, the way yaqona was used was totally different. It was for chiefs only, as they represented the gods. The yaqona or wainivanua was presented to the chiefs in temples early in the morning before any work could begin. The yaqona represented all that belonged to the land. Once the chief accepted it by drinking it in the temple, everyone was free to touch and use everything in the land (vanua). When the ceremony was going on in the temple, total silence was observed all over the land. As the people went to work, the king and chiefs continued to sit around the yaqona bowl discussing the affairs of the vanua. \n\nThomson Basil wrote in his book "The Fijians. A study of the Decay of Custom." 1968, that yaqona serves as a catalyst for social activities and still continues to be so. \n....The chief's yaqona circle supplied the want of newspapers; the news and gossip of the day were related and discussed; the chief's advisers seized upon the convivial moment as the most favourable opportunity for making known their view; matters of high policy were often decided; the chief's will, gathered from a few careless words spoken at the yaqona ring, was carried from mouth to mouth throughout his dominions.

Introduction\n\nIn Malaysia, there is a living traditional art where a storyteller develops the oral tradition, otherwise known as oral literature.\n\nOral tradition is the original source of Malay literature and translated into written literature. One of the practitioners of this oral tradition is known as 'Awang Batil'. Apart from specialised storytellers such as Awang Batil, there are other transmissions of oral literature throughout the country, especially in villages through folk stories or stories of elders that are collected, rewritten and made into collections for children to read.\n\n\nAwang Batil\n\nAwang Batil is a storyteller who provided entertainment and education to the people, especially to the villagers and local community. Awang Batil entertains and educates the community through many classic stories that he inherited. Through those stories, the community is entertained and educated.\n\nOnce upon a time, Awang Batil functioned as a story book, novel, radio, television, movie or video as it is now. He would travel from house to house, village to village, state to state including the state of Kedah, Penang and some areas in the Southern Region of Thailand, especially the Setol Region.

The earliest mention of the pattala (pa'tala:) is in the Bago Kalyani Sima lithic inscription of A.D. 1479 enumerating the presents exchanged with the king of present day Sri Lanka. It was mentioned by Court official Twinthin Mingyi in 1798 as one of the six instruments of the anyein (non- dramatic dance and comedy) ensemble. F.A Neilly, author of a book on Thailand, wrote " The Thai xylophone is derived from the Myanmar xylophone which the Myanmar play exceedingly well". Thai Research Society Vol 69 Part 1-2 of January- July 1951 carried long article by USA Kent University School of Music Terry E Miller and Music Department of Shrinaken University researcher Jaran Chaichonperut. War between the two countries made cultural exchange of musical instruments. There is evidence to show that the xylophone was extant earlier in Myanmar than in Thailand.\nEarlier, softwood was used for the mallets. Now they are made of teak, padauk, cutch, yindai or pyinkado. The mallets are eight inches long with a soft knob of cotton, felt or velvet at the tip. The resonance box is usually made of teak and decorated with pieces of glass of various colors and gilt. Earlier the box constituted one body. Now it is made collapsible for easier transportation. Thought the slats are generally bamboo, there can also be brass or iron. The Myanmar pattala is tuned to the diatonic scale. However, Myanmar chau' pau' and hni pau' instead of being equivalent to international E and B notes are a semitone each Lower. The Myanmar pattala covers one octave below middle C and two octaves above thereby encompassing altogether three octaves. The Myanmar pattala is composed of the slats, the resonance box and the mallets. The beginner is trained to first play left and right strikers alternately in the "maun nin:" method of play. Then the student is trained to strike the mallets simultaneously using the "zoun" method. Traditionally, the player tearns to keep to the timing beats by playing the short music piece beginning "htan taya tei: shin" . They the player is taught the combined "htan", the combined "dun", the combined "djan" and the detached "djan".

The earliest mention of the pattala (pa'tala:) is in the Bago Kalyani Sima lithic inscription of A.D. 1479 enumerating the presents exchanged with the king of present day Sri Lanka. It was mentioned by Court official Twinthin Mingyi in 1798 as one of the six instruments of the anyein (non- dramatic dance and comedy) ensemble. F.A Neilly, author of a book on Thailand, wrote " The Thai xylophone is derived from the Myanmar xylophone which the Myanmar play exceedingly well". Thai Research Society Vol 69 Part 1-2 of January- July 1951 carried long article by USA Kent University School of Music Terry E Miller and Music Department of Shrinaken University researcher Jaran Chaichonperut. War between the two countries made cultural exchange of musical instruments. There is evidence to show that the xylophone was extant earlier in Myanmar than in Thailand.\nEarlier, softwood was used for the mallets. Now they are made of teak, padauk, cutch, yindai or pyinkado. The mallets are eight inches long with a soft knob of cotton, felt or velvet at the tip. The resonance box is usually made of teak and decorated with pieces of glass of various colors and gilt. Earlier the box constituted one body. Now it is made collapsible for easier transportation. Thought the slats are generally bamboo, there can also be brass or iron. The Myanmar pattala is tuned to the diatonic scale. However, Myanmar chau' pau' and hni pau' instead of being equivalent to international E and B notes are a semitone each Lower. The Myanmar pattala covers one octave below middle C and two octaves above thereby encompassing altogether three octaves. The Myanmar pattala is composed of the slats, the resonance box and the mallets. The beginner is trained to first play left and right strikers alternately in the "maun nin:" method of play. Then the student is trained to strike the mallets simultaneously using the "zoun" method. Traditionally, the player tearns to keep to the timing beats by playing the short music piece beginning "htan taya tei: shin" . They the player is taught the combined "htan", the combined "dun", the combined "djan" and the detached "djan".

ICHCAP, in collaboration with UNESCO Bangkok Office, held the Intangible Cultural Heritage Webinar Series from June to August 2020 with a total of four sessions. The 23 speakers from 18 countries met with the public to grapple with alternative practices and emergent modes of delivery in various areas such as heritage education in the universities, networking amongst educational institutions for ICH safeguarding, development of ICH curricula in times of crisis, as well as inter-regional cooperation for cross-cultural instruction and learning.\n\nWhile the entire world is struggling with the impacts of the COVID-19, the ICH sector also has been hit hard by numerous public health measures such as the cancellation of major festivals and events, temporary shutdown of museums, and places of cultural activities, as well as the indefinite halting of formal and informal heritage transmission activities. How can ICH safeguarding and transmission thrive in the midst of an unprecedented pandemic, and what role can higher education institutions play to ensure the viability of living heritage in our times? ICHCAP organized this webinar series to answer these urgent questions that we all face today.\n\nIn the last session of the series on 12 August 2020, education experts from Uganda, Fiji, and Belgium were invited to discuss the development of ICH-related education modules and curricula; different contexts were discussed to show a multidimensional picture of how heritage education curriculum is drafted and implemented.\n\nPresentation1 Inter-regional Field Experiences on Curriculum Development for ICH Safeguarding: Experience from Uganda by Emily Drani, Executive Director, Cross Cultural Foundation of Uganda\nPresentation2 Strengthening Heritage Management Capacity in the Pacific Islands by Dr. Frances C. Koya Vaka’uta, Director, Oceania Centre for Arts, Culture and Pacific Studies, The University of the South Pacific\nPresentation3 From the Blue Book to a Blue Ocean Strategy in Higher Education by Dr. Marc Jacobs, Professor, University of Antwerp

The National Commission for Culture and the Arts of the Philippines (NCCA) is the official government agency for culture in the Philippines. It is the overall policy making body, coordinating, and grants giving agency for the preservation, development and promotion of Philippine arts and culture.\n\nIn 2015, ICHCAP supported the NCCA in digitizing around five hundred hours of analogue content through the Digitization Project of ICH-related Analogue Audiovisual Materials. Some of materials representative of traditions of Philippine ethnic groups were chosen and reproduced as Pagdaloy, flow of life in eight DVDs and two CDs, so they can be enjoyed by more people.\n\nThe videos contained in the collection come from Travel Time, a weekly travelogue that aired from 1986 to 2015 in the Philippines. The TV travel show provided detailed information about minority groups in the country. The NCCA, the project operator, was not only engaged in the digitization of analogue materials but also provided support throughout the production process, contributing to giving more people the opportunity to access valuable ICH materials.\n\nICHCAP Collection IV includes stories of eight Philippine ethnic groups in the Philippines. The story collection comes in a book format, with the DVDs depicting each of the stories. The two CDs feature music used for rituals, feasts, and farming. The collection also features music played by Uwang Ahadas and his family ensemble; Ahadas was named a National Living Treasure of the Philippines. The last page of the collection features a map indicating the areas the ethnic groups inhabit, to help audiences better understand the ethnic groups.\n\nICHCAP hopes that this collection will enable not just researchers in the relevant fields but also the general public to learn more about and become familiar with Philippine ICH.

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.

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

This is ChapterⅠ of a story read by Saimoni Vatu from an old colonial Fijian news publication, Na Mata . The whole story was published in a series that spanned two years from September 1892 to December 1893 and was later republished as a series in 1932. The transcribed oral tradition retells of a migration that goes all the way to Lake Taganyika (in presentday Tanzania), including place names and the connection to Fiji. The story highlights the voyage of the iTaukei patriarch, Lutunasobasoba , on his vessel, the Kaunitoni . One interesting part of the story was the loss of a stone chest containing the tools of trade and the book of languages as they journeyed to Nakauvadra.

“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.

This is a sere ni lotu sung by a girls’ choir group and uses the tune of the Hosanna Hymn from the Fijian Hymn Book.

CD8_FOLK SONGS OF THE INDIGENOUS CASTES\n\nThe indigenous castes of Nepal have a variety of cultural events to mark different life happenings, from birth to death, which are all accompanied by music. These events depend on topography, and may vary even within a caste. Generally, people express their emotions through music in occasions such as Dashain , MagheSakranti , Purnima , or seasonal events, such as rice transplanting, rice harvesting, or millet plucking. In such festivals, each of the indigenous castes exhibits its way of life and culture through traditional attires, instruments, songs, and dances.

CD7_CA HUẾ (THE HUẾ SINGING) IN CENTRAL VIETNAM\n\nCa Huế (the Huế singing) was a special traditional chamber music in Huế, a central city of Vietnam. Ca Huế originated from royal music. “There was the chamber music, serving the Nguyễn Kings and their mothers”. At first, Ca Huế was the chamber music performed in the palaces of royal families, mandarins, and wealthy people. After that, it spread to common communities. Ca Huế has been gradually influenced by many Huế folk musical types. During its development, Ca Huế affected royal music; for example, ten bản Tàu musical pieces (or it can be called ten bản Ngự or Thập thủ liên hoàn) were played in sacrifice ceremonies or some occasions in the court by royal instrumentalists. Ca Huế is the essence mixture of folk music and royal music, which creates the special nuance satisfying the artistic demand of the elite intellectual class and the common class. As a result, in the past, during happy occasions such as New Year ceremonies, parties for celebrating promotions, or parties for opening new businesses, Ca Huế was organised at the private houses of mandarins, the elite class, and Huế common people.\n\nIn the past, participants of Ca Huế included only the elite class, mandarins, and the people with erudite literary knowledge and with the ability to compose beautiful and profound lyrics. They played instruments together and shared their thoughts through instrumental music and singing. The singing and the instrumental music of one person was the inspiration for the singing and the musical composition of another. Group members were also the audiences. They enjoyed their mutual talents respectfully. In recent years, Ca Huế has been performed on stage to also serve the common people. In this musical type, there is a clear classification between composers, performers, and audiences like professional music. The interactive relation among group members of Ca Huế chamber music can be presently only found in Ca Huế in private houses.

Same (Sung Liturgical Chorus\nMethodist evangelists, the first Westerners to influence the Fijian society, realized the overwhelming challenge of introducing Christianity to such a complex society. One of the tools they utilized for the Christian liturgy was the meke, or traditional dance. Meke was used as a preaching tool in introducing Christianity. Its text spoke directly to Fijians in their oral traditions. Same, a transliterated name, is not a psalm (as in the Bible) but an indigenous liturgy with Christian text composed in the form of Fijian poetry fitted to the music of the meke. The origin of the same is not clear. However, given the fact that the early missionary activities were concentrated in Eastern Fiji, it can be safely assumed that the Christians started to use same for their services in this region. The sound, vocal parts, and lyrics of the same are entirely iTaukei; however, its only difference with a meke is that the same is religiously (Christian) focused.\n----------------------------------\nSere Ni Lotu (Christian Hymnody)\nOne definition of a hymn is a lyric poem, reverently and devotionally conceived, which is designed to be sung to express a worshipper’s attitude toward God or God’s purposes in human life. It is simple and metrical in form, genuinely emotional, poetic and literary in style, and spiritual in quality and in its ideas. Fijian sere ni lotu are direct transplants of English Methodist hymnodies, where the Fijian text mirrors the form and style of its English counterpart. The style of the sere ni lotu follows the Western major and minor scale, especially in the polyphony and voice categorizations of sopranos, contraltos, tenors, and basses.\n\nHistorically, sere ni lotu is a turnaround from the traditional styles and melodic forms of the meke and same becoming popular and entrenched as Christianity gained a stronger hold in iTaukei Fijian society.\n- Black, H. Sere dina ni Lotu Wesele e Viti - True Songs. Canberra: Australian National University, 2010. -

Na iTukuni is a form of storytelling and a means for leisure and passing time. It is also a form through which oral history is passed inter-generationally. Storytellers are “gifted” individuals with vivid memories of the past, and, to reciprocate for their talent, they are gifted with food and traditional heirlooms. There are stories that tell of human triumph, trickery and jest between friends and foes, and clashes between humans and figures from the spiritual world, as well as stories that have history or some coded knowledge in them. Some stories are about characters from the spiritual realm and feats of ancestral heroes. \n\nOther stories tell of humor, tragedy, exile, unrequited romance, death, and even cheating death. Storytelling was the equivalent of today’s television and social media. It kept members of a clan entertained and enthralled when storytellers held court around an open fire before a starry-eyed audience, mimicking voices and gestures. Storytelling not only enhanced social cohesion, but served as a repository of a clan’s intangible heritage, particularly in a culture that was highly and predominantly oral and remains so even today.

Pagdaloy, Flow of Life \n(2015 NCCA-ICHCAP Digitization Project of ICH-related Analogue Audiovisual Materials)\n\nThe National Commission for Culture and the Arts of the Philippines (NCCA) is the official government agency for culture in the Philippines. It is the overall policy making body, coordinating, and grants giving agency for the preservation, development and promotion of Philippine arts and culture.\n\nIn 2015, ICHCAP supported the NCCA in digitizing around five hundred hours of analogue content through the Digitization Project of ICH-related Analogue Audiovisual Materials. Some of materials representative of traditions of Philippine ethnic groups were chosen and reproduced as Pagdaloy, flow of life in eight DVDs and two CDs, so they can be enjoyed by more people.\n\nThe videos contained in the collection come from Travel Time, a weekly travelogue that aired from 1986 to 2015 in the Philippines. The TV travel show provided detailed information about minority groups in the country. The NCCA, the project operator, was not only engaged in the digitization of analogue materials but also provided support throughout the production process, contributing to giving more people the opportunity to access valuable ICH materials.\n\nICHCAP Collection IV includes stories of eight Philippine ethnic groups in the Philippines. The story collection comes in a book format, with the DVDs depicting each of the stories. The two CDs feature music used for rituals, feasts, and farming. The collection also features music played by Uwang Ahadas and his family ensemble; Ahadas was named a National Living Treasure of the Philippines. The last page of the collection features a map indicating the areas the ethnic groups inhabit, to help audiences better understand the ethnic groups.\n\nICHCAP hopes that this collection will enable not just researchers in the relevant fields but also the general public to learn more about and become familiar with Philippine ICH.

The Booklet presents materials related to the National Intangible Cultural Heritage (ICH) of the Kyrgyz Republic. Publication introduces the intangible cultural heritage and directed at raising awareness about the ICH elements among the wider public, concerned specialists, national and international organizations working in the field of the intangible cultural heritage.

Following the recommendation of the Committee, the seventh session of the General Assembly of State Parties to the Convention approved the overall results framework (Resolution 7.GA.9) and the Secretariat spread the guidance note in 2019 for better understanding of the framework. ICHCAP therefore translated the notes into various languages in Asia.

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.

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.