In 2015, ICHCAP, IICAS, and the National Commission of the Republic of Uzbekistan for UNESCO co-organized an international symposium, gathering leading experts and scholars in the region, with the topic of ‘oral traditions and epics’ to uncover more profound issues on ICH in the region. As the nomadic tribes of Central Asia have always been migratory, oral traditions have been the core means of intergenerational transmission in their culture. Since ancestral cultural practices and wisdom have been transmitted across generations orally, it is crucial to discuss these issues for safeguarding living 142 heritage in Central Asia. This book is the collection of the papers from the symposium.

Kathakali (lit. story- play) is a highly sophisticated and stylized semi-classical dance drama prevalent all over Kerala. It evolved amalgamating features from all folk and classical performing art forms of Kerala. \nKathakali as a performing art evolved from Ramanattam. The King of Kottarakkara adapted eight episodes from the Ramayana as Ramanattam. However, in the 17th century, the King of Vettathu Nadu modified Ramanattam to develop a classical dance-drama, the Kathakali.\nKathakali derives its themes from the Indian epics, the Ramayana, the Mahabharata and the Bhagavata Purana. The language used for the songs in Kathakali is a mixture of Malayalam and Sanskrit (manipravalam). For theatric communication, the actor uses dance movements, a codified language of gestures and facial expressions. Kathakali displays great dexterity and potential for the actor to show his histrionic and interpretative skills through resorting to an elaborate method of acting.\nThe performance of Kathakali follows a particular sequence. At dusk, the percussionists play their instruments to announce the event (keli). The traditional lamp is lit in front of the performing area (vilakku veppu). The horizontal drum is played to signal the commencement (arangu keli or suddha manddalam), and singers recite the invocation (sloka). \nTwo performers dance a ritual invocation behind the curtain, salute the deities. \nAnother prayer dance is performed in front of the curtain, followed by the ensemble of the drums (chenda, maddalam, chengila, elathalam). The actual story (katha) begins only after these preliminaries. \nIn Kathakali, the make-up and costume represent different traits of character. The colours are symbolic; green represents satwik (pious and virtuous characters); red patch on a green face to represent rajasi’(valorous characters); and a thadi (beard) is added to represents tamasic (evil traits of a character). Elaborate costumes and intricate face make-up In Kathakali is done to mask the human face and invest it with super-human characteristics. \nKathakali has transformed over the recent years from all-night performances in temples and other sites, to three-hour presentations in contemporary settings. The plays have become abridged to suit the tastes of a new audience.

The creation of this reference book, “The Intangible Cultural Heritage of the Mongols” sticks to the vision, principle and classifications of the UNESCO Convention of the ICH. This book consists of five chapters, each dealing with a domain of the ICH and explaining every episode. The national language and dialect, romantic oral literature, folk knowledge, wisdom and method, tangible art, delicately inventive and traditionally undying crafts, folk art, national toys and games, human feelings, decencies, solemn ceremonies and festivities of Mongolia are inexhaustibly rich sources and have subtle differences in nuance.

This publication of the guide book on intangible cultural heritage of the Philippines is the precious result of the enthusiastic efforts made by the National Commission for Culture and the Arts (NCCA) to reconfirm and restore the national treasure of the long protected traditional culture, which have been alienated and marginalized during the colonial period of many centuries. This guide book has been edited to understand holistically the entire aspects of living heritage, the five domains defined by the Convention, and emphasize the importance of the communities practicing and transmitting them.