Htri bamboo is cut necessary size and it is perforated with heated Iron. Once, it was made thick bamboo and it is bored with knife for air hole. It has to be blown from air holes and fret holes are made for opening and closing to produce not only traditional melody but also other melodies. When flute is blowing, air has to be controlled by tongue. It is played together with orchestra brand during New year festival, Christmas and eating first crop festival.\n-1 feet 11 inches in Length\n-8.5 inches in Length with cover\n-5 inches in Length of cover\n-2 inches in Length of tip to bottom hole\n-1.5 inches in Length of tip to air hole\n-1.5 inches in Girth of flute

I was fortunate to chance upon the Tamagni nair (Тамагны найр) festival of the nomads. It is a festival to brand new horses and pray for their health.\nThe nomads working together to catch a horse and praying for its health while branding it made me realize that it was an ancient wisdom to live harmoniously with the beasts most deeply related to their lives\nMany intangible cultural heritage exist around us, we sometimes find them difficult to understand. Some have been pushed out by mainstream culture, losing importance and fading from people's minds. However, still many cultures are being transmitted around the world we need to make efforts to respect each other and understand each others' cultures.

I was fortunate to chance upon the Tamagni nair (Тамагны найр) festival of the nomads. It is a festival to brand new horses and pray for their health.\nThe nomads working together to catch a horse and praying for its health while branding it made me realize that it was an ancient wisdom to live harmoniously with the beasts most deeply related to their lives\nMany intangible cultural heritage exist around us, we sometimes find them difficult to understand. Some have been pushed out by mainstream culture, losing importance and fading from people's minds. However, still many cultures are being transmitted around the world we need to make efforts to respect each other and understand each others' cultures.

I was fortunate to chance upon the Tamagni nair (Тамагны найр) festival of the nomads. It is a festival to brand new horses and pray for their health.\nThe nomads working together to catch a horse and praying for its health while branding it made me realize that it was an ancient wisdom to live harmoniously with the beasts most deeply related to their lives\nMany intangible cultural heritage exist around us, we sometimes find them difficult to understand. Some have been pushed out by mainstream culture, losing importance and fading from people's minds. However, still many cultures are being transmitted around the world we need to make efforts to respect each other and understand each others' cultures.

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.

Htri bamboo is cut necessary size and it is perforated with heated Iron. Once, it was made thick bamboo and it is bored with knife for air hole. It has to be blown from air holes and fret holes are made for opening and closing to produce not only traditional melody but also other melodies. When flute is blowing, air has to be controlled by tongue. It is played together with orchestra brand during New year festival, Christmas and eating first crop festival.\n-1 feet 11 inches in Length\n-8.5 inches in Length with cover\n-5 inches in Length of cover\n-2 inches in Length of tip to bottom hole\n-1.5 inches in Length of tip to air hole\n-1.5 inches in Girth of flute\n

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

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 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 8 is 'ICH AND TRADITIONAL KNOWLEDGE AS AN OCCUPATIONAL LIVING.'

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.

This book contains the presentation and discussion of the above international conference in the form of an online strategic meeting with Webinar, and the first chapter contains webinar presentations on the theme of Life, Environment and Intangible Heritage of Silk Road. In addition, Chapter 2 contains rich examples of the diversity of intangible cultural heritage festivals, and chapters 3 and 4 contain network construction methods and presentations on joint cooperation projects through networks, respectively. In addition, a summary of each presentation and discussion on each topic were included, along with recommendations to create the Silk Road Intangible Heritage Network for 2021.

This report includes the presentation papers of the participants and a summary of the discussions that took place at the meeting. The general discussion topics for the three sections are Implementation of 2003 Convention and International Cooperation; Strengthening Collaborative Network through ICH Information Sharing; and Building Information Systems—Identification, Documentation, and Archives. The individual papers go into detail about building online systems for sharing ICH information, protecting intellectual property, maintaining and strengthening regional and sub-regional cooperation, and other related subjects.