Awang Batil is a storyteller only found in the state of Perlis. He narrates a story by tapping a Batil (copper water container). In addition to the Batil, the storyteller also plays various instruments such as the violin, serunai, rebana, and gendang terinai. His performances are predominantly held in homes during wedding feasts and can sometimes span several days. Throughout his narration, he wears two masks representing the characters of a 'Hulubalang' (soldier) and the 'Wak Nujum' (fortune teller). These masks, typically made of wood and painted in red and white, add depth to his storytelling. Today, with the advent of digital media, the Awang Batil’s role has diminished, but the Perlis-based storyteller still entertains people with his delightful wit.\n\nThis mask is made from 'tui' wood. This mask is used when awang batil is telling stories about the character of hulubalang. It is painted in red and white.

Awang Batil is a storyteller only found in the state of Perlis. He narrates a story by tapping a Batil (copper water container). In addition to the Batil, the storyteller also plays various instruments such as the violin, serunai, rebana, and gendang terinai. His performances are predominantly held in homes during wedding feasts and can sometimes span several days. Throughout his narration, he wears two masks representing the characters of a 'Hulubalang' (soldier) and the 'Wak Nujum' (fortune teller). These masks, typically made of wood and painted in red and white, add depth to his storytelling. Today, with the advent of digital media, the Awang Batil’s role has diminished, but the Perlis-based storyteller still entertains people with his delightful wit.\n\nThis mask is made from 'tui' wood. This mask is used when awang batil is telling stories about the character of Wak Nujum. It is painted in red and white.

Awang Batil is a storyteller only found in the state of Perlis. He narrates a story by tapping a Batil (copper water container). In addition to the Batil, the storyteller also plays various instruments such as the violin, serunai, rebana, and gendang terinai. His performances are predominantly held in homes during wedding feasts and can sometimes span several days. Throughout his narration, he wears two masks representing the characters of a 'Hulubalang' (soldier) and the 'Wak Nujum' (fortune teller). These masks, typically made of wood and painted in red and white, add depth to his storytelling. Today, with the advent of digital media, the Awang Batil’s role has diminished, but the Perlis-based storyteller still entertains people with his delightful wit.\n\nThis mask is made from 'tui' wood. This mask is used when awang batil is telling stories about the character of hulubalang. It is painted in red and white.

Awang Batil is a storyteller only found in the state of Perlis. He narrates a story by tapping a Batil (copper water container). In addition to the Batil, the storyteller also plays various instruments such as the violin, serunai, rebana, and gendang terinai. His performances are predominantly held in homes during wedding feasts and can sometimes span several days. Throughout his narration, he wears two masks representing the characters of a 'Hulubalang' (soldier) and the 'Wak Nujum' (fortune teller). These masks, typically made of wood and painted in red and white, add depth to his storytelling. Today, with the advent of digital media, the Awang Batil’s role has diminished, but the Perlis-based storyteller still entertains people with his delightful wit.\n\nThis mask is made from 'tui' wood. This mask is used when awang batil is telling stories about the character of Wak Nujum. It is painted in red and white.

"“Intangible Cultural Heritage NGO’s Strategy in Achieving Sustainable Development: Goal 2. Zero Hunger” is the 3rd outcome of ICHCAP’s Project PINA, or Project Promoting ICH Safeguarding Activities of NGOs in the Asia-Pacific Region.\n\nThis book is a collection of eight selected NGO activities on ICH that are vital to achieving food security from six countries namely, Bangladesh, India, Indonesia, Nepal, Tajikistan, and Viet Nam. It provides an opportunity to look into community-based NGO activities and experience that greatly contribute to the promotion of local communities’ welfare by revitalizing and transmitting ICH. Significantly, their approach emphasizes the relationship between ICH and SDG 2: Zero Hunger through their projects on food security and improved nutrition, and sustainable agriculture.\n\nICHCAP hopes that local, regional, and global public awareness about NGOs and their ICH safeguarding activities in the Asia-Pacific region will be substantially raised by this book."

In 2016, ICHCAP organized the 2016 Asia-Pacific ICH NGO Conference, which was held from 3 to 5 November in Jeonju, Republic of Korea. After the 2030 Sustainable Development Goals (SDGs) were adopted at the seventieth UN General Assembly, SDGs have gained even more attention of the international community. Understanding the importance of SDGs in relation to culture, we held the conference under the theme Achieving SDGs through Safeguarding Intangible Cultural Heritage. The outcome report includes the meeting agenda and outcomes as well as photographs and presentation papers by the participants.

This book explores creative and historical traditional food of the world through the articles provided by sixteen authors from different countries. Food is a critical element in human life and is intimately linked to the history and identity of individuals and communities. Traditional food and food ways of a community, region, or an ethnic group have become unique practices through close interactions reflecting the diverse features of the community, including the natural environment, society, politics, economy, and culture. Traditional food and food ways are then firmly embedded in the community while they are transmitted, adapted, and recreated across generations. As such, traditional food is an indispensable element in communal life and is the root of life. This book presents information on ICH reflected in traditional food and allows readers to explore the intangible value of traditional food through historical backgrounds and stories concerning the food.