Pebaek was one of the important ritual procedures of a traditional wedding ceremony. The ritual was performed at the groom’s house after the bride finished the wedding ceremony at her house. Pebaek was to introduce herself properly to her new in-laws and, her rst greetings were to the inlaw parents and relatives.

The food we eat is an important part of culture. It is also an expression of community identity. As American folklorist Millie Rahn writes, The kitchen, historically, is the place where families gather and where the everyday and the ceremonial meet and overlap. Here families interact and share private traditions, expressing identity through their food to each other and to the world. Creativity is alive in this space, from daily mealtimes to more elaborate feasts that mark rites of passage, religious and secular holidays, and other special events. This is where knowledge is passed on, from traditional ways of preparing and using various ingredients, implements, tools, and techniques to legends, stories, anecdotes, and cultural exchanges that have become part of familial and regional folklife. We all eat, and associate different layers of cultural meaning to the food we consume. Explorations of food, then, can be an easy conduit into the complex world of intangible cultural heritage. This article gives several examples from the safeguarding initiatives of the Heritage Foundation of Newfoundland and Labrador that have used foodways as a means to get people thinking about, and engaged with, concepts of cultural transmission and heritage conservation.

Cultural heritage is not limited to archaeological sites, monuments, and collections of objects. It includes tradi- tions or living expressions inherited from our ancestors and passed on to our descendants, such as ceremonies, rituals, performing arts, beliefs about the world, and enactment prac- tices. While these expressions may not be tangible, they are a continuously evolving form of living tradition, recreated and adapted in response to the environment around us. They provide us with a sense of identity, a feeling of belonging, and an inclusive, representative, collective way of expressing culture.

Bangladesh is a repository of hundreds of intangible cultural heritage elements that have been developed through various historical waves of different political and religious regimes over the last 5000 years.ICH education at the tertiary level has an important role to play in creating a pool of human resources for sustaining the value, meaning, and significance of these ICH elements. Until recent past, the importance of protection, promotion and safeguarding of various cultural heritage resources in Bangladesh has not received necessary attention from administration, academicians and researchers. Lack of policies and resources, and shortage of trained teaching staffs were the main reasons for not being able to introduce required courses at the tertiary level of education. Assessing the present status of heritage education at various tertiary institutions, this paper calls for immediate policy responses to strengthen the ICH education for developing a Sustainable Cultural Heritage Management Plan (SCHMP) through building capacities by mobilizing local resources in collaboration with various national and international organizations. Immediate and long-term heritage education policy-planning and interventions can encounter the challenges of protecting, promoting and safeguarding various ICH elements of the country. \n\nThus, the main objective of this paper is to examine the actual status of heritage studies at the tertiary level of education in Bangladesh through analyzing the contents of curriculums of some selected departments which are closely related to cultural heritage studies. As a supplement to this content analysis, a small number of randomly selected students and teachers have been interviewed to know their general understanding about the importance of ICH education in Bangladesh. \n

Dibya Jyoti Borah, President of ARHI introduces the role of ARHI in safeguarding of ICH. Established in 2008, ARHI is collaboration of individuals belonging to the indigenous tribe, activist working for the cultural-educational rights of native people. It is a wider platform for all indigenous communities to discuss and reflect upon challenges and problems faced by indigenous communities as well as finding the best means to address those concerns. It is a grassroots organization comprising all small & big indigenous communities.

One of this school's teachers, Diana Herawati, teaches Indonesian students and sometimes students from other countries how to develop procedure text in English A procedure text describes how something is achieved through a sequence of actions. Indonesia is rich in local knowledge that can be analysed and described as a procedure text. According to Diana Herawati, her classes are successful because they are rooted in love and local traditional wisdom. While these activities aim primarily at expanding language skills, they also raise awareness about the importance of culture and the environment and or nurturing responsible citizens.

From 1990 to 2010, as an ethnologist devoted to the process of heritagemaking, I investigated Alpine communities and their strategies in facing a changing world. In an historical perspective, my eldwork has been oriented to making memories and the ways they worked as strategies of resistance in facing the many uncertainties of the future (Certeau 1990).

UNESCO’s Intangible Heritage Convention, which was adopted in 2003 and entered into force in April 2006, highlighted “Recognizing that com-munities, in particular indigenous communities, groups and, in some case, individuals, play an important role in the production, safeguarding, mainte-nance and re-creation of the intangible cultural heritage, thus helping to enrich cultural diversity and human creativity.” Articles 1 and 15 on purposes of the Convention make further references to issues relating to the participation of communities, groups, and individuals. By respecting and empowering practicing communities to define, desig-nate their intangible heritage, and engage in protecting ICH, many states have come to acknowledge community as one of the central goals of the convention. In fact, the interrelationship between community and heritage seems to be inseparable. Valdirmar Tr. Hasfstein pointed out that “At closer inspection, intangible cultural heritage is practically synonymous with community” and therefore “the purpose of the conven-tion is not only to safeguard traditional practice and expressions, but also, and just as importantly, to safeguard communities” (Valdirmar Tr. Hasfstein 2004, p.212)

The Masters Degree Programme in Heritage Management at Ahmedabad University is open to students and practitioners from any discipline but with a demonstrated interest or experience, in any sector of heritage. Since its launch in 2015, the disciplinary backgrounds represented so far include arts, architecture, archaeology, commerce, conservation, engineering, geography, history, international relations, literature, museology, and planning. Such a diverse group of students spend two years in this journey together learning from peer group interaction and experiences, regular class room sessions, seminars, field visits, projects, immersion, practicum and research. The programme is designed to pursue heritage as an everyday concept, and heritage management as an opportunity of enhancing and enriching livelihood and ecosystem. This way, the canvas of heritage for us seems full of more intangibles than tangibles because heritage is essentially defined through values, knowledges and cultural practices. Hence, there are milestones in the programme that highlight these interconnections, and bring a holistic heritage idea to the forefront. It has to be noted that there is no explicit course for ICH convention but it does gets referred in multiple courses – sometimes explicitly and at length, sometimes as an integrated concept and a tool. \n\nIn fact, some of our discussions focus on critical reflections on the ICH convention too. This paper will discuss the concepts of the programme and how it integrates ICH across various aspects of heritage – not just the intangible and knowledges, but also tangibles and other standard fields of practices. Such an integrated approach is at the core of the programme, and the ICH discourse and various tools help us achieve our goals. In doing that, we believe the programme also contributes in safeguarding of ICH as demonstrated by various theses that has been done by the graduating students.

"Comprising more than 17,500 islands, 1,300 ethnici- ties, and over 500 vernacular languages, Indonesia is blessed with an incredibly diverse heritage, both nat- ural and cultural, tangible and intangible. However, this also poses a tremendous challenge, particularly when it comes to safeguarding and conserving such a colorful collection of heritage. Badan Pelestarian Pusaka Indonesia (BPPI, the Indonesian Heritage Trust) was founded to answer the challenges of safeguarding Indonesia’s diverse heritage. It is a nonprofit organization comprised of heritage practitioners and advocates who share the common goal of safeguarding the sustainability of Indonesia’s natural, cultural, as well as landscape."

Capoeira , a Brazilian martial art (MA) expression, was in 2014 inscribed on the UNESCO Representative List of the Intangible Cultural Heritage (ICH) of Humanity for its fundamental values and characteristics, transmitted from one generation to another (Vianna, 2016; UNESCO, 2020). The is a circle formed by capoeiristas, musicians, and the audience, in the center of which capoeira matches take place.

Museums are, without a doubt, important institutions in any society. They are repositories for knowledge and objects of value all over the world. Some view museums as a place to find solace, cultural reflection, and inspiration. Others compare them to schools and view them as educational institutions where they can learn about their past, culture, and tradition.\nMuseums are seen as keepers of the past, as they manage artifacts that were used by groups who have, in the main, passed on. Visitors believe that their elders have left behind a legacy for the new generation to carry on the culture and tradition of a people. Even though museums may be compared with other institutions, such as schools, it has been argued that they can provide services to the community that other institutions cannot.1 This article will highlight how museums in Oceania are adapting to the ongoing COVID-19 situation in order to be accessible to visitors.