According to newa, a Buddhist belief system, death is one of the ten major events in one’s lifetime. While death is the end of a life, it is also taken as a beginning of another life, a cycle that continues until the state of Nirvana is achieved. Hence, death rituals, apart from funerals and lamentations, include rituals carried out to prepare the deceased for the journey after death.

Lunar month festival of the Mongols or holiday celebration of the first day of “White Moon” or “White Month” symbolizes the departure of winter and welcoming the spring of the new year. This festival and its rituals and traditions are unique and naturally accorded with a specific lifestyle of Mongolian nomadic culture. Therefore, during this festival, there are no gatherings of masses on the street to participate in folk parades and street carnivals as in urban cities and villages.

Once upon a time, a beautiful young woman wandered into a jungle carrying her little baby girl in search of food. She was very tired, so she made a soft bed from the petals of flowers and laid the baby on it. Then she left to search for fruits to satisfy her immense hunger. Two great birds who had no babies of their own found the little human baby in its nest of flowers and carried it away on their backs to their own nest. Their nest was very large; many strange birds lived together there in harmony. There was a parrot, a myna, a hen, a stork, a kingfisher, and a tailorbird in their nest.

Central Asia stands at the crossroads of ancient civilisations. Its territory, crossed by the northern part of the great Silk Road, constitutes an ensemble of cultural heritage sites and monuments that express common historical experiences as well as reflect an extraordinary cultural diversity dating from prehistoric times to the Islamic period and beyond. For centuries, the phenomenon of intangible cultural heritage was a key factor for the transmission of indigenous cultural traditions for future generations as well as a matching point for intercultural dialogue in Central Asia—a region with unique oral and music traditions.

Intangible cultural heritage presents an important form of living cultural heritage. It covers fundamental, yet extremely vulnerable aspects of living culture and tradition embodied in the spiritual life, traditional knowledge, skills, and practices of communities. It presents one of the most vivid and colourful forms in which the world’s cultural diversity is expressed and preserved.

This paper presents an overview of the current situation of intangible maritime cultural heritage among coastal residents and fishing cooperative association members who work and live in the Matsushima Bay region of Miyagi, Japan. \n\nThe Matsushima Bay has a rich history of peoples living around and accessing the sea’s resources since at least the Middle Jomon Period (4000 to 2500 BC). The Bay, named a quasi-national park and known as \none of the three most scenic places in Japan, was made famous by the poet Basho who visited the area in 1690.\n\nToday, however, the area suffers from high population density in the surrounding mainland, intense industry along the coast, demographic change in the coastal communities, and the impacts of the tsunami generated by the 2011 Great East Japan Earthquake. \n\nWith these challenges, maritime ICH is at risk, and with it, communities and ways of life since, if ICH can help strengthen social cohesion and inclusion, the loss of ICH can weaken it. Social practices, rituals, and \nfestive events structure the lives of coastal communities, strengthening shared understandings of the local culture and environment. Two communities, maritime events, “Minato Matsuri” and “Hama O-bon”, \nwill be presented to highlight the importance of such activities.\n\nMaritime ICH also provides an opportunity for environmental sustainability and resilience. The paper thus also touches upon local concepts of “fisher-forests” and “sato-umi” and presents local examples of coastal community activities which, along with fishers’ local ecological knowledge, supports resilience and sustainability goals

Co-orgarnized by ICHCAP and Hue Monuments Conservation Centre (HMCC), this year’s Asia-Pacific ICH NGO Conference was held in Hue, Vietnam under the theme of ICH NGOs towards Sustainable Development of Communities.

Patachitra is a story telling tradition of the Medinipore region of West Bengal in Eastern India. In this unique art form, oral tradition meets the visual structures of a narrative. The bard presents the story with pictures and simultaneously narrates a song called “Pater Gaan”. The word pata is derived from the Sanskrit and Pali word patta, which means “cloth.” Chitra means “picture.” Patachitra means “picture painted on cloth.” The painter community is called Patua. All of them bear the last name Chitrakar, meaning painter.

The Tao Foundation for Culture and Arts is a Philippine non-profit, non-governmental orga-nization based in Quezon City, National Capital Region, Luzon and in Agusan del Sur, Caraga Region, Northeastern Mindanao. Established in 1994, the Tao Foundation is led by an all-fe-male Board composed of Filipino scholars, artists, and Indigenous community leaders engaged in cultural regeneration initiatives in response to the five centuries of colonial and neocolonial histories and the need to help build strong cultural communities. The Tao Foundation’s mission is to (1) facilitate the exchange, transmission, and development of Philippine ICH/TCH; and to (2) contribute to the empowerment of culture bearers or those who possess ancestral practical and theoretical knowledges that have endured and transformed to remain relevant through colonial and neocolonial histories as a result of day-to-day and more large-scale acts of resistance.

Globalisation has its benefits. But it could also diminish our heritage in ways that we may not sometimes even be conscious of. Effective minimization of the negative impacts is possible with timely interventions. Sometimes it may be too late before significant elements of our culture are endangered or even disappear. It is this concern that led the world community to come together and adopt the international Convention by UNESCO in 2003 for Safeguarding Intangible Heritage. It is passé to say that globalisation has accelerated to a pace that we are challenged to keep up with it on many fronts. We are quite familiar with the social, economic and environmental issues. In addressing only these three pillars during the 2000-2015 MDG phase of the UN, we now have a lot of catching up to do. Culture as the fourth pillar of sustainable development, even if not detailed enough, is located in the 2030 Agenda and the Sustainable Development Goals (SDGs) that will guide us between 2015 and 2030. We must endeavour to bring together the implementation of the 2003 Convention and higher education as part of the four-pillar paradigm. Several questions need to be addressed. \n \nCan higher educational institutions such as universities, specialised colleges add value to the UNESCO’s efforts in safeguarding intangible heritage in sustainable development? Can we find synergies between the strategic directions of higher educational institutions and the Overall Results Framework for the UNESCO 2003 Intangible Heritage Convention? In what ways can Regional, Sub- Regional, National and Local networking and knowledge sharing be empowering to safeguard intangible heritage and the rich cultural diversity of the Asia Pacific? Given that language itself is not covered by the Convention but included as a vehicle of the intangible heritage (Article 2.2.a), how best can we maximise on the linguistic diversity of the region promoted through higher educational institutions in minimising the hegemonic impacts of monolingualism that endangers so much of our intangible heritage? \n\nFirst and foremost, it must be underlined that UNESCO and a number of national and international agencies including NGOs have advocated strongly for the inclusion of culture as a separate SDG in the UN 2030 Agenda. None of the 17 SDGs focus exclusively on culture. However, the advocacy has created an inclusive discourse on culture that cuts across the SDGs. The resulting Agenda includes several explicit references to cultural aspects. The following SDG Targets are significant. They provide windows of opportunity to ensuring that we locate culture in the SDGs and in doing so promote the safeguarding of intangible heritage:

Chinese martial arts present a unique combination of bare-handed and armed fighting with calisthenics, breathing exercises, meditation techniques, and elements of traditional Chinese medicine. It was in the late imperial period of Chinese history (the Ming and Qing dynasties, 1368–1912) that folk hand combat became a multifaceted system with features that go beyond the narrow framework of mere fighting. The surviving textual sources attest that during the Ming–Qing transition period, martial arts were perceived by many practitioners as a religious practice. Daoists and Buddhists alike often turned to hand- combat training in striving to achieve various religious goals, be it spiritual enlightenment or immortality. However, as recently discovered textual evidence suggests, it was Chinese local religion that disclosed the most intimate relations to martial arts practice.\nAn inseparable part of Chinese culture, the Chinese hand-combat tradition was (and still is) deeply rooted in rural life, and manifested itself in a particularly vivid way in the religious customs and ritualistic activities of the Chinese village. Chinese local religion, a highly intricate system in its own right, contains an evident martial element. For example, it is strongly believed that the employment of direct physical force against malevolent supernatural powers is not only possible but is sometimes as effective as any other ritual protective means, such as (spells) and (talismans). The folk belief that humans can best evil spirits with their bare hands is reflected in literary sources as early as the fourth

Human has made great progress beyond the speed of biological evolution by using tools. First, human used stones and wood as tools for hunting and gathering, and then invented earth-baked earthenware such as bowls for food, appropriate to farming life. The defects of woodenware and earthenware, however, were obvious. It was not able to contain liquid due to their moisture absorbency, and easily damaged. Earthenware has evolved into glazed ceramic but it required a high-tech kiln with high temperature, accompanied by a technology for metal refining as a key prerequisite. In East Asia, moisture proof and insect proof techniques to coat objects were invented much earlier. That is lacquer technique.\nProduction process of lacquer is delicate and complicated such as handling lacquer sap at the risk of skin disease, creating hot and humid environment for hardening process, etc. Nevertheless, in East Asia, people have used lacquer technique in many regions from the Neolithic Age, knowing its merits earlier on. Lacquer was used for adhesive and surface protection of leather, earthenware, ceramics and metalware. In particular, it has been inextricably linked to wooden objects. Whereas in West Asia and Europe various varnishes mixed with dry oil and resin has been used, in East Asia lacquer was used as a basic varnish in common. That shows that lacquer is great material and technique to represent the commonality of Asian culture.1) This article aims to briefly look into the origin of lacquer technique in Northeast Asia and share the information on it and its current status of transmission.