Cultural Space of Gong in Central Highlands (Tây Nguyên)\n\nCultural Space of Gong in Central Highlands covers all the fertility red soil in the territory of 5 provinces including Kông Tum, Gia Lai, Đắc Lắc, Đắc Nông, and Lâm Đồng. \n

In the past, plates and cups were not provided for any visitors in Bhutan. Everywhere people must travel with their own plates and cups as this is part of traditional etiquette. Usually, people bring at least two Phob (traditional wooden cups) and a To-rey (a piece of cloth) instead of a plate. The size of the To-rey must be kha-gang, which means slightly more than half a meter and slightly less than a meter, which is equivalent to a two-foot square. This size and quality of the To-rey applies to every person, regardless of status. The Phob wrapped in the To-rey is carried everywhere in the Hem-chung (Gho-pocket or hanging bag) of our Gho and Kira (traditional Bhutanese clothing).\n\nThe cups come in a variety of shapes and varieties and are made of different types of grains. There are cups with silver and gold layers on the rim and inside the cups, or plain wooden cups that signify the different status of the people depending on the quality of the cup used. There are certain cups that may only be used by monks and lamas (Buddhist spiritual leaders). This is usually the La-phob (monk's cup), which does not have exquisite decorations like the Phob of common people. However, the La-phob has historically used different colors to denote different monastic titles.\n\nOn formal occasions, when we sit with our legs crossed or in meditation posture, the To-rey must be able to cover the surface of our leg. It was not until the turn of the 20th century that people began to keep extra plates and cups for guests, as there had been no development until then and the country and its citizens were economically backward. This happened only when people began to import tableware into the country from abroad. Until then, people used phob (wooden cups), Dha-pa (wooden plates) and Bang-chung (hand-woven bamboo plates). Each household member owned a Dhapa or Bang-chung, at least two Phobs, and a To-rey, which served as a shawl and a cleaning cloth for the plates and cups. The plates and cups were wiped with the To-rey, which was cleaned after a few days, as there was no tradition of washing the utensils.

In the past, plates and cups were not provided for any visitors in Bhutan. Everywhere people must travel with their own plates and cups as this is part of traditional etiquette. Usually, people bring at least two Phob (traditional wooden cups) and a To-rey (a piece of cloth) instead of a plate. The size of the To-rey must be kha-gang, which means slightly more than half a meter and slightly less than a meter, which is equivalent to a two-foot square. This size and quality of the To-rey applies to every person, regardless of status. The Phob wrapped in the To-rey is carried everywhere in the Hem-chung (Gho-pocket or hanging bag) of our Gho and Kira (traditional Bhutanese clothing).\n\nThe cups come in a variety of shapes and varieties and are made of different types of grains. There are cups with silver and gold layers on the rim and inside the cups, or plain wooden cups that signify the different status of the people depending on the quality of the cup used. There are certain cups that may only be used by monks and lamas (Buddhist spiritual leaders). This is usually the La-phob (monk's cup), which does not have exquisite decorations like the Phob of common people. However, the La-phob has historically used different colors to denote different monastic titles.\n\nOn formal occasions, when we sit with our legs crossed or in meditation posture, the To-rey must be able to cover the surface of our leg. It was not until the turn of the 20th century that people began to keep extra plates and cups for guests, as there had been no development until then and the country and its citizens were economically backward. This happened only when people began to import tableware into the country from abroad. Until then, people used phob (wooden cups), Dha-pa (wooden plates) and Bang-chung (hand-woven bamboo plates). Each household member owned a Dhapa or Bang-chung, at least two Phobs, and a To-rey, which served as a shawl and a cleaning cloth for the plates and cups. The plates and cups were wiped with the To-rey, which was cleaned after a few days, as there was no tradition of washing the utensils.

Vat-gine or crescent-shaped gong is one of the Mon traditional musical instruments that has been used since the ancient time. The original crescent-shaped gong was consisted of 14 gongs and used to be played only in Nat (Spirit) propitiation ceremony. But, an additional gong tuned to Nga Pauk (Fifth Note) is added to play since the late 1962. The Crescent-shaped gong consists of 14 gongs which are arranged in ascending order from right to left. The pitch of gongs is higher from left to right and the player has to strike them with two mallets. This crescent-shaped gong is played in Mon national celebrations, Hin-tha dance, solo dance performance, Mon traditional dance and national ceremonies such as Union Day and Mon National day.\nFirstly, the two ends of fine Yamanay wood is smeared with mud. After its bark is stripped off, the log is smeared with mud again and left for six months to dry by itself so that the wood becomes well seasoned. The rattans are attached to arrange the 13 crescent-shaped gongs. It is painted with the original color of the wood and embellished in Mon traditional decorations. The left side of instrument is carved into head of Kainnayi bird and the right one its tail. The stands are carved into the two legs of this bird.\n-68 inches in length\n-46 inches in height\n-9.25 inches in the breadth of middle hollow \n-9 inches in length of Kainnayi Head\n-7.25 inches in tail

Vat-gine or crescent-shaped gong is one of the Mon traditional musical instruments that has been used since the ancient time. The original crescent-shaped gong was consisted of 14 gongs and used to be played only in Nat (Spirit) propitiation ceremony. But, an additional gong tuned to Nga Pauk (Fifth Note) is added to play since the late 1962. The Crescent-shaped gong consists of 14 gongs which are arranged in ascending order from right to left. The pitch of gongs is higher from left to right and the player has to strike them with two mallets. This crescent-shaped gong is played in Mon national celebrations, Hin-tha dance, solo dance performance, Mon traditional dance and national ceremonies such as Union Day and Mon National day.\nFirstly, the two ends of fine Yamanay wood is smeared with mud. After its bark is stripped off, the log is smeared with mud again and left for six months to dry by itself so that the wood becomes well seasoned. The rattans are attached to arrange the 13 crescent-shaped gongs. It is painted with the original color of the wood and embellished in Mon traditional decorations. The left side of instrument is carved into head of Kainnayi bird and the right one its tail. The stands are carved into the two legs of this bird.\n-68 inches in length\n-46 inches in height\n-9.25 inches in the breadth of middle hollow\n-9 inches in length of Kainnayi Head\n-7.25 inches in tail

Cultural space of Baysun was recognized by UNESCO as the “Masterpiece of Oral and Intangible Cultural Heritage of Humanity” among the first 19 in 2001. Consequently, in 2008, it was included in the Representative List of the Intangible Cultural Heritage of the Humanity of UNESCO. Inclusion the space to the List enhanced the opportunity of preservation, documentation and conduct scientific researches of artistic traditions and culture of Baysun district. It is a world bringing together settled and nomadic traditions, Turkic and eastern Iranian peoples. The traditional culture of Baysun, besides Islam, has its roots in ancient cults and faiths. In its folklore one can see traditions with elements of Zoroastrianism and Buddhism, animism and ancestors worship. Grazing patterns have not changed in a thousand years. Livestock are still the main measure of wealth, and gardening is a male tradition. Hand spinning wheels, graters, tandirs, water mills, and blacksmiths using bellows all still exist. National clothes are made, such as doppi and chapans and head scarves for men and women, using craft traditions and local ornamental decorations dating from the tenth and eleventh centuries. Old customs and rituals govern life from birth to death. There is much historical heritage and native wisdom in them.

The name Zhana Ngacham comes from the zhana (black hats) worn by the dancers and the use of the ngachung (small drum) during the Cham performance. It is another form of Zhana Cham (black hat dance). Usually, the dance is performed mainly by monks in dzongs (fortresses), monasteries and temples during Tshechu (annual mask dance festival) and also during Drubchen (large ritual ceremonies). However, sometimes the dancers are replaced by lay people if there are no monastic facilities in the community. The dance falls under the category of Tsun cham (monastic mask dance performances). \n\nThe dancers wear a long brocade robe called phoegho with long and wide sleeve ends, a dorji gong (a crossed vajra collar) over the shoulder, and two phoe-cho or phoe-tog, a horn-like tool attached to either side of the hips that helps the robe turn smoothly and elegantly as the dancers twirl. The distinctive feature of the Black Hat dance is the black, spherical hat with decorations in the shape of a human skull and peacock quill, and Thro-pang, an angry face wrapped around the front of the abdomen. \n\nZhana Ngacham is usually performed by 21 dancers under the direction of Cham-pon (dance leader) and Cham-jug (deputy leader). In the seventeenth century, Zhabdrung Ngawang Namgyal (1594-1651) is revered for giving more importance to the performance of such dances and including them in the curricula of the central monastery under the title Gar-thig-yang-sum (mask dances, proportions mandala drawing and ritual intonation) to establish them in the field of cultural heritage in Bhutan.

The most important celebration for Mongolian people since ancient times is the traditional three manly sports (naadam). During this important celebration there is wrestling among men, which tests men’s strength and wit. Archery tests the skills of marksmanship. The horse race tests the racers’ swiftness and hardiness. They are performed according to the customary rules. The wrestlers are garbed in sporting uniform. The archers are garbed in specific dress. The manes and tails of racing horses are fastened together with strips as decorations. There are certain numbers of ceremonial movements. Every sportive feat is eulogized. These are rooted in very ancient traditions. Every winner in wrestling, archery, and horse-racing has titles and epithets.\n

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.

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.

Katta Ashula (a song performed with a plate) is specific to the Ferghana Valley of Uzbekistan. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, Katta Ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style. Katta Ashula developed from basic traditional events in history, from labour songs, and from different styles of ghazal verses. Usually, Katta Ashula is performed in big gatherings, festivities, and party celebrations.\n\nKatta Ashula songs were performed professionally and further developed by famous Khofizes such as Erkaqori Karimov, Turdiali Ergashev, Matbuva Sattorov, Jo'rakhon Sultonov, Mamurjon Uzoqov, Boltaboy Rajabov, Orif Alimakhsumov, Fattohkhon Mamadaliev, Jo' rakhon Yusupov, and Khamroqulqory To'raqulov. Today, Katta Ashula is masterfully performed by experienced singers with the highest skill, such as Khalima Nosirova, Munojot Yo'lchieva, Ismoil and Isroil Vakhobovs, and Mahmud Tojiboev.

Lapar performing arts, as an ancient folklore genre of people’s creation, has a rich history. Lapar songs are performed by famous artists during holidays, public festivities, and wedding parties as well as in a bride’s house in the evening during ‘Girls’ Evening’, ‘Girls’ Party’, and ‘Lapar Night’. Girls and boys perform Lapar songs composed of four-lined ghazals in two groups. Through Lapar songs, girls and boys express their love for each other, make decisions, and take oaths. They sing their heart’s grief with a certain melody but without any music. If both the girl and the boy who are singing Lapar fall in love with each other, they present gifts to one another. If the boys present flowers to girls, the girls present a kerchief, belt-kerchief, handkerchief, perfume, or some other gift.\n\nLapar songs are mainly composed of four-lined verses and are performed in the form of a dialogue between two parties. If they resemble o'lan songs from these features, they are distinguished by the ideas, literary references, descriptive objects, and the lifestyle that are sung in the lyrics- the level of thought is more highly developed by images. \n\nLapar songs were performed and became increasingly better known through the work of famous Lapar singers, such as Lutfikhonim Sarimsoqova, Tamarakhonim, Lizakhonim Petrosova, Gavkhar Rakhimova, Oykhon Yoqubova, Guishan Otaboyeva, To'khtakhon Nazarova, Qunduzkhon Egamberdiyeva, and others. To pay more attention to Lapar and o'lan songs, to collect them, to support the performers, and to publicise their creative work to the broader community, the Traditional Republican Festival of Lapar and O'lan performers is regularly conducted by the Republican Scientific and Methodological Center of Folk Art under the Ministry of Culture and Sports of the Republic of Uzbekistan.\n\n\n\n

O`lan is a genre of people's oral creation. Mainly, it is performed by women with or without doira accompaniment. At Uzbek parties and celebrations, the O`lan is sung by a girls' team on one side and a boys' team on the other side, or it is sung by two people who take opposing sides so they can perform as though they are having a dialogue.\n\nYor-yor is a folk song performed at a wedding celebration when the bride is seen off. In ancient times, it was widespread among Uzbek, Tajik, Uygur, and Turkmen people. Yor-yor consists of two or four lines; at the end or in the middle of each line are the words 'yor-yor, aylanaman' (my beloved one, I am enchanted). Usually, yor-yor is accompanied by doira music performed by women. The high effect of yor-yor is that it simultaneously harmonises sadness with a merry melody, tone, and the mood of holiday joys. In yor-yor songs, the bride's features, wishes, cherished dreams, and congratulations to her are praised. \n\nThe Republican Scientific and Methodological Center of Folk Art under the Ministry of Culture and Sports of the Republic of Uzbekistan, in cooperation with the National Commission of the Republic of Uzbekistan for UNESCO, organised an expedition to Ferghana Valley to research and classify intangible cultural heritage samples as well as to inventory and define the bearers of this heritage. The expedition team recorded samples of O'lan songs from ICH bearers and transmitters of intangible cultural heritage, including Xayrullo Mirzayev, Hanifa Mirzayeva, Inoyat Rafiqova, Makhbuba Yo'ldosheva, Baxtiyor Turg'unov, Zebikhon Abdunazarova, Ko'paysin Oqboyeva, and Qo'zikhon Siddiqova.

Alla (lullaby) is an oral form of ICH sung by one person, usually a mother who is putting her baby to sleep. Alla is important in raising a child. That alla is a unique part of Turkic culture has been stated in many sources. Alla is highly emotive in that it allows a child to perceive not only motherly affection but also her spiritual sufferings. \n\nAlla creators and performers are mothers. The content and melody of all songs are derived from the spiritual state of a mother. The Spirit of the period is reflected in the song. Today, mothers perform all, enriching the songs with new content by signing and praising love for life, a happy life, and a bright future. The Republican Scientific and Methodological Center of Folk Art under the Ministry of Culture and Sports of the Republic of Uzbekistan, in cooperation with the National Commission of the Republic of Uzbekistan for UNESCO, organized an expedition to Ferghana Valley to research and classify intangible cultural heritage samples as well as to inventory and define the bearers of this heritage. The expedition team recorded samples of alla songs. Through these recordings, listeners can feel a high sense of motherly love as well as the utterance of a suffering human spirit. \n\nAlla\nI say alla my dear baby, \nListen to it. alla. \nListening to my sweet alla, \nEnjoy rest, alla. \nListen to my sweet alla, \nGo to sleep, alla, \nMay your future be prosperous. \nMy little soul, alla-yo.

Audio and Video Materials Collected from the Onsite Survey in the Ferghana Valley_2012 Uzbekistan-ICHCAP Joint Cooperation Project of Producing Digital Contents on ICH\n\nThe glorious intangible cultural heritage (ICH) of Ferghana Valley encompassing the state of Ferghana, Andijion, and Namangan in Uzbekistan includes oral traditional, performing arts, traditional rites and festive events, and traditional crafts. However, this heritage is largely unknown to the public in the nation and abroad, and it is fading out even more rapidly due to the young generation’s lack of interest.\n\nSince 2011, the four Central Asian countries, including Uzbekistan, have been implementing a three-year project, Facilitating ICH Inventory-Making by Using Online Tools for ICH Safeguarding in the Central Asian Region as a Central Asia–ICHCAP cooperative project. In the framework of the project, the countries have collected ICH information and tried to build an online system for managing the collected information.\n\nIn Uzbekistan, the Republican Scientific and Methodological Centre of Folk Art, under the Ministry of Culture and Sports of the Republic of Uzbekistan, in collaboration with the National Commission of the Republic of Uzbekistan for UNESCO, implemented the three-year project. They collected information on ICH elements in the Ferghana Valley (Andijan, Namangan, and Ferghana regions), Zarafshan Oasis and Southern Uzbekistan (Jizzakh, Samarkand, Kashkadarya, and Surkhandarya regions), and the Republic of Karakalpakstan (Navoi, Bukhara, and Khoresm regions) through onsite surveys from 2012 to 2014.\n\nIn 2012 when the first onsite survey was concluded, Uzbekistan and ICHCAP selected representative materials among collected videos, audios, and photos on ICH elements and ICH bearers, and compiled the materials as a ten-CD/DVD collection. Also, booklets in English, Uzbek, and Korean were made to spread related information to a wider audience.\n\nFerghana Valley is also home to Tajikistan, Uighers, and Turkistan. In the other words, different traditions co-exist in the same place. ‘Katta Ashula’, which integrates arts, songs, music, and epics, is one Uzbek cultural heritage representing the identities of the diverse people live in the valley\n\nThe collection could preserve the disappeared and disconnected ICH and encourage increased mutual understanding and communication by spreading the information widely from the experts to the people.

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 25 is 'Pictures and Storytelling.'

Communities in the Asia-Pacific region greet the New Year at different times depending on region and religion. Communities celebrate a new beginning with traditional songs and dances. This volume introduces traditional performing arts to celebrate the beginning of the New Year in Japan, Nepal, Micronesia, and Myanmar.

This book contains the presentation and discussion of the above international conference in the form of an online strategic meeting with Webinar, and the first chapter contains webinar presentations on the theme of Life, Environment and Intangible Heritage of Silk Road. In addition, Chapter 2 contains rich examples of the diversity of intangible cultural heritage festivals, and chapters 3 and 4 contain network construction methods and presentations on joint cooperation projects through networks, respectively. In addition, a summary of each presentation and discussion on each topic were included, along with recommendations to create the Silk Road Intangible Heritage Network for 2021.

The sixth sub-regional networking meeting took place in Pacific Harbor, Fiji, in April 2015. The meeting was organized by ICHCAP and the Department of Heritage and Arts of Fiji in collaboration with the UNESCO Office in Apia.\nThis meeting report includes presentation materials from the sub-regional meeting as well as summaries of the meeting with the intent of providing information to promote international cooperation among experts and institutions in the ICH safeguarding field in the Pacific region.