Aqyn Aytakyn Bulgakov gives the terme performance on the occasion of his 60th anniversary.\nTerme (kaz. 'Collect' or 'Go to the point') - recitation, musical and poetic genre of folk song creation. There is an expression "terme aitu" - to sing a recitative among the people. As a poetic-melodic speech in a piece of music, terme is very popular among the people. It is like advisory/teaching saying in a form of clearly expressed recitation. They are short and uniform in the rhythm of the melody in the form of a recitative. Poems and songs, recited in this genre, is easily remember to the mass consciousness and retrieved in memory associatively.

Preparation for the welcoming of a new year has been always a very important set of activities. People beforehand prepare and clean their households, clear the ditches, wear new elegant clothing, prepare rich variety of foods for Dastarkhan (holiday table with dishes). Rich abundance of food is prepared during the celebration of Nauryz. Festive Dastarkhan is served in every house symbolizing prosperity and abundance. Prior and after the meal mullah reads prayers in the honor of ancestors. then eldest man gives out his blessing 'Bata' with wishes of a happy new year. The main festive dish on Dastarkhan is a traditional meal called Nauryz kozhe (Nauryz porridge) that includes seven sacral ingredients: water, meat, salt, mutton lard, flour, cereals and milk. Seven components of Nauryz kozhe symbolize seven elements of life. Big pot for cooking Nauryz kozhe symbolizez unity. Nauryz holiday is always accompanied by mass fun and outdoor activities. swinging on Altybakan swings, and engagement in sports competition: wrestling, horse riding games, Aitys (singers contest) and other music competitions.

Preparation for the welcoming of a new year has been always a very important set of activities. People beforehand prepare and clean their households, clear the ditches, wear new elegant clothing, prepare rich variety of foods for Dastarkhan (holiday table with dishes). Rich abundance of food is prepared during the celebration of Nauryz. Festive Dastarkhan is served in every house symbolizing prosperity and abundance. Prior and after the meal mullah reads prayers in the honor of ancestors. then eldest man gives out his blessing 'Bata' with wishes of a happy new year. The main festive dish on Dastarkhan is a traditional meal called Nauryz kozhe (Nauryz porridge) that includes seven sacral ingredients: water, meat, salt, mutton lard, flour, cereals and milk. Seven components of Nauryz kozhe symbolize seven elements of life. Big pot for cooking Nauryz kozhe symbolizez unity. Nauryz holiday is always accompanied by mass fun and outdoor activities. swinging on Altybakan swings, and engagement in sports competition: wrestling, horse riding games, Aitys (singers contest) and other music competitions.

Preparation for the welcoming of a new year has been always a very important set of activities. People beforehand prepare and clean their households, clear the ditches, wear new elegant clothing, prepare rich variety of foods for Dastarkhan (holiday table with dishes). Rich abundance of food is prepared during the celebration of Nauryz. Festive Dastarkhan is served in every house symbolizing prosperity and abundance. Prior and after the meal mullah reads prayers in the honor of ancestors. then eldest man gives out his blessing "Bata"with wishes of a happy new year. The main festive dish on Dastarkhan is a traditional meal called Nauryz kozhe (Nauryz porridge) that includes seven sacral ingredients: water, meat, salt, mutton lard, flour, cereals and milk. Seven components of Nauryz kozhe symbolize seven elements of life. Big pot for cooking Nauryz kozhe symbolizez unity. Nauryz holiday is always accompanied by mass fun and outdoor activities. swinging on Altybakan swings, and engagement in sports competition: wrestling, horse riding games, Aitys (singers contest) and other music competitions.

Tebe-tebe is one of the most widely practiced and deeply cherished traditional dances in Timor-Leste. Rooted in communal identity and spiritual expression, it is performed during a wide range of ceremonies—rituals of healing and harvest, weddings, sacred house gatherings (uma lulik), and commemorative events that bring entire communities together.\n\nAt its core, tebe-tebe is a line or circle dance performed by groups of people—often with women and men linking arms or shoulders—who step and sway in unison to the beat of traditional instruments like the babadok (a hand-held drum). The movements are deliberately grounded and rhythmic, characterized by stomping feet, subtle sways, and communal gestures that convey strength, connection, and balance.\n\nThe dance is accompanied by chanted songs, usually performed in a call-and-response style. These songs are often rich in metaphor, addressing themes of unity, gratitude, remembrance, or negotiation with the spirit world. The lyrics, sung in Tetun or other local languages, carry encoded histories, ancestral teachings, and emotional expressions that elevate the dance beyond entertainment into the realm of cultural storytelling.\n\nTebe-tebe plays a vital role in moments of social and spiritual transition. It may be performed to welcome guests, to celebrate a marriage, to honor the dead, or to invoke protection and blessing during a harvest ceremony such as sau-batar. In each case, the dance serves to activate communal energy and connect the visible world with the ancestral realm.\n\nThe inclusive nature of the dance—performed by people of all ages and social backgrounds—reflects its egalitarian spirit. It is not restricted to professional dancers or experts; rather, it is meant to be shared, learned through observation and participation from a young age. In many villages, elders pass on the steps and songs during festivals and ceremonies, and school programs and cultural centers are increasingly incorporating tebe-tebe into youth education to ensure its survival.\n\nWhile variations exist across regions, the essence of tebe-tebe remains consistent: it is a dance of the people, by the people, and for the people. In its rhythm and repetition, the community finds both cohesion and catharsis—expressing sorrow, joy, solidarity, and reverence through a single, unified movement.\n\nToday, tebe-tebe continues to evolve. It is performed not only in rural rituals but also on national stages, international cultural events, and heritage festivals. And while some modern adaptations have emerged, the traditional forms are still held with deep respect, especially by elders who carry the memory of its ceremonial power.\n\nIn every echo of the babadok and every synchronized step of the dancers, tebe-tebe tells a timeless story—of a people connected to one another, to their ancestors, and to the living land they call home.

By using Rakhine Royal Drum was found at the period of Visali of the king of Chandra. At the time of king Chandra, the lyrical ode of the crown-princess Saw Pyae Nyo was played with the various kinds of instruments. Long-drum and Than-Lwin-drum contained in this instruments.In the Myanmar era of 897 ( 1535 AD) when was called Lay Myoe Age, King Min Bar built Yan Aung Zaya Chittaung stupa with a vaulted vase. Rakhine oil lamp dance, Shawl dance, Powewar dance, the sports of Mrauk.U period such as the posture of wrestling, boxing, the stick martial art and the figures in the posture of playing the Rakhine musical instruments such as the Rakhine Duelong Harp, bamboo pipes wind instrument, melodious small drum, hand-cymbals, cymbals၊ horn, long drum, Marlakhon fiddle, the bugle , the cymbal and the flute were sculpted as the ancient supporting evidences of Rakhine long drum on the western wall of the second tunnel of Shittaung pagoda.. Rakhine nationality mostly used long-drum. According to the ceremony, the drum which is used to celebrate pagoda festival is called Mu-Yoe Drum. Pan-taja drum is used for the wedding ceremony and the ceremony of propitiate nats. Khat- Ttin drum is used for the funeral ceremony . Si- Byaw( kind of long drum ) is used to play the novitiated ceremony. One- headed drum is used for ceremony of pulling gharry. Kyin-drum is used for the posture of wrestling. There are fourteen kinds of Rakhine drum. They are Mhyaut drum, Than-Lwin drum, Mu-Yoe drum ( Si-Pyaw ), Singal-headed small drum, Big drum (Shan si) , Donmin drum , Si Pataung drum, Si wun drum , Melodious small drum, One-headed drum, Pan:taya: si drum, Pat Si drum (Kyin si), Si chay drum, Si ai drum. According to the song, it can be played with hands. The song which produces the sound of Byane from cow skin and the sound of harp from goat skin. It can be played not only hand but also stick. Rakhine royal drum is played together with cymbals, gong, jingle bell and conch-shell.\nPadauk wood is used to make the body of Rakhine royal drum and the either sides of two drumheads are covered with cow-skin and goatskin. The Padauk wood has to made hollow and the either side of cow skin and goat skin are tightly stretched on the drum heads. Both two drumheads can be played. The leather must be tightly tied with the string of gunny twine.\n-2 feet 3 inches in Length\n-3 feet 5 inches in the girth\n-1 feet in the diameter of drumhead (site of cow skin)\n-11 inches in the diameter of drumhead ( site of goat skin)

Khovd Province, located in western Mongolia, is a vibrant tapestry of majestic landscapes, diverse ethnic communities, and deep-rooted cultural traditions. Home to more than ten ethnic groups—including the Kazakhs, Torguud, Durvud, Zakhchin, Uriankhai, and Myangad—Khovd is a cradle of intangible cultural heritage passed down for generations.\n\nSurrounded by sacred snow-capped peaks and vast river valleys, Khovd is rich in biodiversity, with over 1,300 plant species and hundreds of rare and endangered animals, including snow leopards and Altai argali. Its historical landscape is just as abundant, featuring ancient rock carvings, deer stones, and the renowned Gurvan Tsenkher Cave with 40,000-year-old petroglyphs.\n\nThe province is a living museum of nomadic knowledge and craftsmanship. Locals uphold centuries-old traditions of herding, long-distance camel caravans, and skilled artisanal work—everything from intricate ethnic costumes and woodcraft to leather and felt production. Unique musical and dance traditions, such as bielgee (expressive dance), Tsuur flute playing, and the haunting throat singing khoomii, echo across the region, preserving the voices of the past.\n\nAnnual festivals celebrate horse racing, wrestling, and the famed Kazakh Eagle Festival, showcasing the enduring bond between eagle hunters and their majestic birds. Epic poetry, the melodies of the horsehead fiddle, and region-specific tea customs further enrich Khovd’s living cultural heritage.\n\nThis documentary journeys through the soul of Khovd Province—where every mountain, melody, and movement tells a story. It’s a place where Mongolia’s ancestral spirit is not only remembered but proudly lived every day.

I am Alina Tamrakar. I am an architect currently working in documentation and restoration of heritage structures affected by the massive earthquake of 2015. I belong to Newa community who are the indigenous people of Kathmandu valley. Kathmandu is the capital of Nepal. Born and raised in a typical Newa family who has always put rituals and tradition in the first place, I was always very connected to the cultural heritage of Kathmandu. As I grew up being part of the festivals and rituals, there were always numbers of questions running inside: why do we celebrate these festivals, what is the story behind it, who initiated the traditions and so on. After the devastating earthquake took down so many monuments, some of which carried centuries-old history, it gave me time to reflect on the rich knowledge and skills that our ancestors held and handed it down to our generation. It also explained how tangible and intangible heritage are interlinked with each other. Also, a realization that there is still so much to learn from our heritage and to pass on to the next generation.\nAmong the Newa community, Tamrakars are one of such communities, who follow Buddhism. Gunla is one of many festivals celebrated in Kathmandu valley. It is the tenth month in Nepal Sambat lunar calendar, in which devotees from all around Kathmandu valley visit Swayambhu Stupa that is also one of UNESCO’s World Heritage Sites. The festival of Gunla last for one whole month. In addition to this, devotees also take a visit to different Buddhist courtyards called Baha-bahi and other stupas and chaityas. The devotees in the process recite Holy Scriptures and play devotional gunla music. Music groups from different communities take part in the procession. Like other numerous communities, Tamrakar community also has the musical group named “Tamrakar Gunla Baajan Khala” who have been taking part in playing gunla music and reciting Holy Scriptures from time immemorial. The procession starts from a traditional courtyard called “Piganani” in Maru, near Kathmandu Durbar Square. Piganani is the centre point of the location where Tamrakars initially settled in Kathmandu. Every day for the month of gunla, the community of around 20- 25 (on Saturdays and holidays the number increased to around 50 attendees) start the procession from Piganani at 5:30 am and visit the Swayambhu stupa and come back to Piganani and end the tour at around 8:00 am. On holidays, the team takes a longer route covering other major Buddhist monasteries, chaityas and stupas on the way. During the procession, the devotees and practitioners cover a distance of 6 kilometres.\nUntil three years back, I used to take part in the procession just as an audience listening to people reciting the scriptures and watching the team of young members playing the drums and cymbals to play devotional gunla music. Three years back, I enrolled as one of the practitioners and started taking part in the procession. I came to know that earlier, women were not allowed to play musical instruments in the gunla procession, but only take part as devotees. However, as time passed on, the society opened the doors for women as well. In today’s time, there are a huge number of women practitioners who have taken the initiative to be a part of the team.\nThe tradition of playing gunla music, according to local experts is thousands of years old practice. As much as this musical tour is interesting, it is equally full of knowledge regarding our culture and tradition. Such practices of cultural heritage are not only a matter of pride that an individual or the whole nation takes in but also a major affirmation that such huge collection of knowledge, skill and accomplishment that our ancestors have developed are being transferred to the next generation. Apart from carrying on the tradition, it is also very necessary that we understand the depth of each of these practices in order to keep the tradition alive in the long run. It is equally necessary that we know where our roots lie while we soar up to reach the sky. This is only possible when youths take the initiative to participate in these practices and talk about the “why”, “what” and “how” while they do so.\nDuring Gunla procession different traditional musical instruments are played. “Dhā” and “Nayo khin:” are drums played on one side by bare palm and with a wooden stick on the other are the main musical instruments played during the procession. The small cymbals called “tā” give the beat to the drums and big cymbals and trumpets are played along. For the first time, starting this year, flutes have also been added to the band. The music performance begins with “Dyo lhayegu”, which is a small introductory piece played in order to invoke the “Nāsa dya”, a deity of performing arts. There are separate pieces especially played depending upon the time and place in the procession. For example, the piece played while revolving a chaitya or stupa is different from a one played while beginning the procession.\nThe practice session for each year, begin one or two months prior to gunla month. Anyone who is capable of learning to play the instruments is eligible to participate. The members of Tamrakar community enrol their younger ones once they are ready to take part, while people from other communities are also welcomed to participate in learning and later take part in the procession. The practice sessions take place each evening in the courtyard of Piganani where a guru, a teacher takes a lead in taking music classes. In addition to a regular teacher, the elders in the Tamrakar Gunla Baajan community also offer their presence as well as their knowledge so that the learners get all the support they need. The sessions are one of such encouraging steps that the elder generation in the Tamrakar Gunla Baajan Khala take that make sure that the centuries-old tradition of playing gunla music is safely being transferred to the next generation.

ICH Video Production in the Asia-Pacific Region : Central Asia\n\nRapid urbanization and westernization are changing the environments in which intangible cultural heritage is rooted. The importance of documentation that traces the effect of social changes on intangible cultural heritage is being emphasized as a safeguarding measure. Quality video documentation is an important resource that enables the conservation and transmission of existing intangible cultural heritage and raises its visibility.\n\nVideo documentation is the best medium to record intangible cultural heritage in the most lifelike manner, using the latest technologies. It is also an effective tool for communicating with the public. However, conditions for video production in the Asia-Pacific remain poor, requiring extensive support for quality video documentation.\n\nICHCAP has been working to build the safeguarding capabilities of Member States and raise the visibility of intangible cultural heritage in the Asia-Pacific by supporting the true-to-life documentation of intangible cultural heritage as this heritage is practiced and cooperating with experts, communities, and NGOs in related fields.\n\nSince 2010, ICHCAP has hosted annual Central Asian sub-regional network meetings with Uzbekistan, Kazakhstan, Kyrgyzstan, Tajikistan, and Mongolia to support the ICH safeguarding activities of Central Asia. Through their collaboration, ICHCAP has supported projects involving collecting ICH information, producing ICH websites, and constructing ICH video archives.\n\nAt the Sixth Central Asia Sub-regional Network Meeting in Jeonju in 2015, ICHCAP, four Central Asian countries, and Mongolia adopted a second three-year cooperation project plan on producing ICH videos to enhance the visibility of ICH in Central Asia.\n\nICHCAP developed guidelines and training programs for the project and invited video and ICH experts from the participating countries, and held a workshop in November 2015. After the workshop, focal points for the project were designated in each country, and each focal point organization formed an expert meeting and a video production team to produce ICH videos.\n\nInterim reports were submitted to ICHCAP in February 2016, and the first preview screening was held in Dushanbe, Tajikistan, during the Seventh Central Asia Sub-regional Network Meeting in May 2016. Since then, each country has carried out the project according to the project plan. ICHCAP met with each country between October 2016 to February 2017 to check on the project progress.\n\nAfter the final preview screening during the Eighth Central Asia Sub-regional Network Meeting in Bishkek, Kyrgyzstan, in 2017, final editing process took place in each country, and fifty ICH videos were completed by October 2017.\n\nAll photos introduced on this page along with fifty ICH videos are from the exhibition 'Living Heritage: Wisdom of Life' held in the Republic of Kyrgyzstan and the Republic of Korea. Designed for introducing various ICH in the five countries, this exhibition shows photos on representative twenty elements in each country collected during the process of on-site survey and documentation for ICH Video Production Project in Central Asia by experts participated in the ICH video production project.\n\nICHCAP will continue its ICH documentation projects in the Asia-Pacific region for the next ten years by expanding the scope from Central Asia and Mongolia to Southeast Asia, Southwest Asia, and the Pacific.\n\n\nPartners\nMongolian National Commission for UNESCO • National Commission of the Kyrgyz Republic for UNESCO • National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • National Commission of the Republic of Uzbekistan for UNESCO • National Commission of the Republic of Tajikistan for UNESCO • Foundation for the Protection of Natural and Cultural Heritage Mongolia • National Committee for the Safeguarding of the Intangible Cultural Heritage under the National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • School of Fine Art and Technical Design named after Abylkhan Kasteyev • State Institute of Arts and Culture of Uzbekistan • Tajik film • Tajikistan Research Institute of Culture Information • Korea Educational Broadcasting System • Asia Culture Center\n\nSupporters\nUNESCO Almaty and Tashkent Cluster Offices • Cultural Heritage Administration • Panasonic Korea • Turkish Airlines

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

Intangible cultural heritage (ICH) is transnational in nature. It is necessary to spread the perception that ICH transcends geographical spaces and national borders, creating dynamic relations, connectedness, and continuity, which is why it is a timeless bearer of cultural diversity, the foundation of the heritage of humanity. However, as the modern structure of nation-state determines the boundaries of culture with national borders, forming the concept of “culture within the country”, subsequently led to the perception that the ownership of culture belongs to the state.\n\nThe concept of exclusive ownership of culture is often controversial in the UNESCO listing process, particularly in instances where cultural heritage and cultural domains have been shared for a long time by two or more nation-states. Such conflicts lead to excessive competition for nomination, overshadowing UNESCO’s fundamental purpose of contributing to peace and security in the world by promoting collaboration among nations, as well as the very spirit of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage that promotes international cooperation and assistance in the safeguarding of ICH as a matter of general interest to humanity.\n\nConsequently, UNESCO encourages multinational inscriptions of shared intangible cultural heritage to promote regional cooperation and international safeguarding activities, preventing conflicts among countries and coping with already existing ones. By emphasizing joint nominations of shared ICH, UNESCO revised its implementation guidelines three times to deal with conflicts between countries due to the cultural property rights. In addition, States Parties are encouraged to develop networks among relevant communities, experts, professional centres, and research institutes, particularly with regard to their ICH, to cooperate at the sub-regional and regional levels.\n\nAt the 13th Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage held in the Republic of Mauritius in November 2018, Traditional Korean Wrestling was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity as the first joint designation by the Democratic People’s Republic of Korea and Republic of Korea. This milestone in the life of the Convention demonstrates that ICH contributes to the peace-building, reconciliation, mutual understanding, and solidarity among peoples. Indeed, only when acknowledging that shared cultural values are empowering characteristics of ICH, the true perspective of the unifying agent of the cultural diversity can be achieved, and that it is the cornerstone of reaching peace among nations.\n\nCountries in the Asia Pacific region are deeply connected by a long history of interactions, exchanges, flows of people, goods, and ideas that have shaped shared values, practices, and traditions. Having a balanced view, advocating for cultural diversity, and recognizing the commonalities among individuals, communities, and countries as a strength are virtuous tenets in the present time.\n\nIn this regard, APHEN-ICH Secretariat, ICHCAP, and UNESCO Bangkok Office are inviting the APHEN-ICH member institutes and public to this seminar under the theme of Diversity and Distinctiveness: Looking into the Shared ICH in the Asia-Pacific, to re-assess that while fragile, intangible cultural heritage is an important factor in maintaining cultural diversity, connecting bounds, and enhancing international dialogue and peace.

For eight months, a group of men worked under harsh conditions to make money for a common cause. The money would be utilized in establishing an education fund for their community. This song is composed to celebrate their success.

This is a women’s folk song sung during the Teej festival. The lyrics describe the pain felt by women who are forbidden by their in-laws to go to their fathers’ houses to celebrate Teej. The tempo of the song is slow.

This is a women’s folk song sung during the Teej festival in the Dhading district. The lyrics tell of a woman who wasn’t invited by anyone in her father’s house to celebrate Teej. The tempo of the song is fast.

This is a women’s folk song sung during the Teej festival in the Dhading district. The lyrics tell of a woman who could not go to her father's house to celebrate Teej as she could not cross the Trishuli River due to monsoon rain. The tempo of the song is slow.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

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 2 is 'ICH AND LABOR'.

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 6 is 'ICH AND MUSICAL INSTRUMENTS'.

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.'

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'.