The Rom Dance is a prominent cultural heritage originating from Ambrym Island in the Vanuatu archipelago. Ole in the Ambrym vernacular language refers to dance performances in which participants wear a rom mask. The rom, which is the mask itself, is a simpler version of the Banks Islands’ tamate mask, but it looks more similar to South Malekula masks.

"The Convention for the Safeguarding of the Intangible Cultural Heritage (‘ICH Convention’ or ‘Convention’ hereafter) was adopted in 2003 and subsequently brought into force in 2006. The ICH Convention mandates signatories to use or mobilise various measures to safeguard intangible cultural heritage. \nEven though the Convention does not succinctly mention the elaborate legal measures for safeguarding intangible cultural heritage, the intellectual property rights to protect intangible cultural heritage and its holders are implied throughout provisions of the Convention. To implement the Convention’s spirit, the Operational Directives clarify legal form as safeguarding measures by stating that: State Parties shall endeavor to ensure, in particular through the application of intellectual property rights, privacy rights and any other appropriate form of legal protection, that the rights of the communities, groups, and individuals that create, bear and transmit their intangible cultural heritage are duly protected…."

My initial research among Lach community in Lac Duong town, Lam Dong province, Vietnam started with my participation in a project entitled “Establishment of associated mechanisms for conservation of landscape biodiversity and cultural space in Lang Biang Biosphere Reserve, Vietnam,” headed by Southern Institute of Ecology (Vietnam Academy of Science and Technology) in 2016. The project was successful to some extent in documenting characteristics of cultural spaces of ethnic peoples in the region and the reality of these spaces’ conservation in close relationship with that of biodiversity. Noticeably, being a world heritage, gongs cultural space was recognized as one of the crucial elements constituting the entire cultural spaces and cultural identity of local ethnic groups in the region and thus recorded as being imperative for conservative strategies and actions. These preliminary conceptualizations attracted me as an anthropologist to explore further insights into the socio-economic and cultural life of the Lach in the context of their daily life from 2017 to 2018. \n\nAs the people have been taking more active parts in their national and international integration, their social and economic spaces get expanded, adjusted and re-created. So are their cultural spaces in general and gongs cultural space in specific. This paper is to explore local gongs clubs of the Lach in Lac Duong town and gongs culture restoration activities at the parish church of Langbiang to reveal the fact that gongs cultural spaces of the Lach are far from static, fixed and in need of reservation. Rather, they are dynamic, inclusive and on the process of continuous meaning making as the result of the people utilizing their agency in creating initiatives and mechanism to practice their culture and transfer it to next generations. It is implied that by ways of local participation and community based training, cultural heritage can be prolonged and perpetuated itself alive.

This paper begins with illustrating the vulnerability and resilience of Pacific island countries (PICs) to put intangible cultural heritage (ICH) safeguarding in a broader context of sustainable development for the Pacific region. The paper first presents a summarised history of the Pacific World Heritage Programme and the progress of its implementation since the adoption of the World Heritage Convention in 1972. It then outlines the development of the Pacific ICH Programme since the preparatory phase of the ICH Convention, adopted in 2003, to the organisation of multi-stakeholder consultations in seven PICs in 2010 and 2011. The paper identifies two tasks: i) organisation of consultations on ICH safeguarding and ii) elaboration of a mid-term strategy for ICH safeguarding in the Pacific. As a conclusion, the paper presents a strategy to focus on the contribution of Pacific ICH to the achievements of Millennium Development Goals (MDGs) and other internationally agreed goals such as Education for All (EFA). The paper argues that this could be done by building upon on-going good practices and by strategically highlighting the central role of ICH in achieving\nsustainable development of communities.

"Leonese wrestling, aluches or luches, is a traditional wrestling style practiced in the province of León (Autonomous Community of Castile and León, Spain). With an area of 6,016 square miles (15,581 km2) and a population of around 460,000, León is located in the northwest interior of the country and has a great diversity of landscapes. This includes the Cantabrian Mountains, the Galician Massif, the lowland of El Bierzo, and a plateau or Meseta Central. It was part of the Kingdom of León (910–1230), where in 1188 the first parliamentary system in Europe was established (UNESCO, 2013). Two main, historical paths cross the province, the Ruta de la Plata (Silver Way), from north to south, and the Camino de Santiago – Camino Francés (Way of St. James – French Way), from east to west. These pilgrimage and trade routes were important elements for the transmission of cultural practices, ideas, or artifacts, from which Leonese culture benefited.\nLeonese wrestling, in particular, is rooted in the northeast of the province. It includes two mountainous areas (Central Mountain and Eastern Mountain, both part of the Cantabrian Mountains) and the adjacent flat lands, comprising several districts and the provincial capital—the city of León. In total, this represents approximately 35% of the territory of the province. However, only two zones are mentioned with regard to Leonese wrestling: Montaña (Mountain), which includes all the territory to the north of the León–Bilbao railroad, and Ribera (Bank), to the south of said railroad. Traditionally, bouts between the most prominent Montaña and Rivera wrestlers were followed by the"

As in other countries in Spanish-speaking Latin America (Ryan, 2011), and former Spanish colonies such as the Philippines (Gonzales, 2015), there are both longstanding indigenous fighting systems as well as more recently created warrior arts and combat sports in what is now known as Mexico. Since the early 1990s, there has been inception and steady dissemination of several invented martial arts developed in the central, Gulf, and northern regions of Mexico by Mexican martial arts veterans with decades of experience in combat sports and Asian martial arts. New martial arts are often created by experienced martial artists experiencing personal troubles within broader social crises (Jennings, 2019). In the case of the Mexican pioneers, their combative experience is aided by their research into native forms of fighting and their vision to create a unique martial

iTaukei intangible cultural heritage has contributed to sustainable lives in the past and has continued to sustain lives of iTaukei people at present. The concept of sustainable development is not new to iTaukei\ncoastal communities, as their cultural and social practices towards environment sustainability, inclusive social development, economic development, and peace and security have proven otherwise. iTaukei coastal communities are quite familiar in addressing the needs of the present and future generations, the needs of the vanua1 as a whole, and ensuring sustainable lives for each member of the community. It ensures balances between nature and communities, economic and social stability. Sustainability can be associated with the iTaukei concept of sautu.2 Sautu in the iTaukei context can mean peace, wellbeing, prosperity and fertility of fishing grounds. Therefore, different sociocultural practices ensure a sustainable food system in iTaukei coastal community.

Madam Irina Bokova (Director-General of UNESCO), Representatives from UNESCO regional Offices and NATCOMs, Experts, Scholars, National and International Practitioners and Communities in the Asia-Pacific Region, and Our Hosts the Cultural Heritage Administration of Korea: It gives me great pleasure to be able to present here today on this auspicious occasion. Distinguished participants and Ladies and Gentlemen, I would like to thank the organisers for supporting my attendance at this forum and to congratulate ICHCAP on its success in being established as a Category 2 Centre in the Asia-Pacific region and for bringing us together at this forum to provide an opportunity to exchange information, communicate, and network.

The main contents of this publication are reports from thirty-two nations collected by ICHCAP from 2009 to 2015 as part of its annual projects to collect information on intangible cultural heritage safeguarding in the Asia-Pacific region. We have also compiled information from other reports and conference materials collected by ICHCAP to present key data, such as national inventories and information on related organizations, in an easily accessible format.

If anyone had an opportunity to go through legal documents in Nepal like legal paper of property rights, they must have noticed the thin, fibrous, off-white paper, which are known as Nepali kagaj or Nepali paper. Not only legal documents but also ancient religious texts were written on that paper.\n\nThe name “Nepali paper” might give the impression that the name comes from being made in Nepal; however, the paper’s actual name is lokta. These papers are handmade from the fibrous inner bark of shrubs named Daphne—Daphne bholua and Daphne papyracea—grown in elevations between 2,500 meters to 4,000 meters.\n\nThe inner fibrous bark is extracted from the plant without harming the root so that the plant can regrow. Thin layers of the bark are stripped out. These thin strips are washed and dried and then boiled for five to eight hours to soften them. After boiling, the strips are transferred to a machine that turns the strips into a puree. (This step used to be done by hand by rubbing seashells on the strips.) Then soft pasty puree is poured evenly into a wooden frame with net. These frames, when dried, produce lokta paper.\n\nThe thickness of paper is controlled with the amount of pulp being poured and spread evenly. Lokta can be made very thick and transparent, which are special characteristics of this paper. These papers strong—not easily torn and resistant to termites and decay. The plants used to make lokta regrows in few years, making it sustainable. Even though machines were introduced for some work, most of the work still done manually.\n\nBecause of its limited use—legal documents and religious manuscripts and to make incense sticks by binding incense powder to the paper and ayurvedic medicinal purpose—these industries were dying out. But the tourism industry gave the rebirth to Nepali paper. Targeting tourists, the producers started to make the various products other than writing paper.\n\nAnother specialty of these papers is that they can be dyed to produce wonderful patterns and even natural elements like leaves and petals can be added to create beautiful designs. Taking advantage of the flexibility, producers started to make various products out of lokta. Nowadays, products such as lampshades, notebooks, paper bags, greeting cards, wrapping paper, photo frames, and calendars are made from the paper. Tourists are the main consumers these products.\n\nAccording to Mr. Raja Ram Tandukar who owns a Nepali paper shop in Kathmandu explains, “lokta products gained popularity with tourist thirty to thirty-five years back. Tourists know this paper as rice paper.” The new life of the Nepali paper industry has created many job opportunities for the people, contributing in the economy.\n\nNow, not only tourists but also the Nepali people started to use this paper in various new forms like for making visiting cards, restaurant menu, paper bags, and photo albums. This paper is environmentally sustainable as it comes from bushes that regenerate every four to five years.\n\nPhoto : Wrapping paper with prints of mane (Buddhist religious object) made of Nepali paper (Lokhta). © Monalisa Maharjan