Malay traditional dance from Terengganu. It is an ritualistic dance performed to appease or invoken the spirits of the sea are always accompanied by a unique song also called ‘Ulek Mayang’. An traditional orchestra comparising drums, gong, violin and accordion accompanies the dance.

An endangered ICH in need of urgent safeguarding (only the Tunidau knows the art of net weaving)\n\nA keen to the purse seine nets (modern forms have used nylon) of Guinea: sack-like feature\n\nAccording to the Tunidau (head fishermen), the Late Asaeli Tabuadrau, the net is over 100yrs old … it undergoes kuvui (smoking) to keep it durable!\n\nIt encompasses the iTaukei concept of “solesolevaki” & “veivakaturagataki”

▶ Play Video 2. Into the Heart of the Mandaya A Journey through the Wilds of Davao Oriental\nThis episode was first aired on Filipino television on November 16, 1995. This episode has been modified from its original format.\n\nAnimals were offered in the context of the Mandaya cultural ritual.\n\nThe Mandaya are a complex group that can be referred to by different terms: Mangwanga, Mangrangan, Mangosan, Magosan, Pagsupan, Divavaonon, Dibabaon, and Mansaka. Members reside in Davao Oriental. They are concentrated in the municipalities of Caraga, Manay, Cateel, Lupon, and Tarragona. The known subgroupings are: (1) Mansaka, (2) Pagsupan, (3) Mangwanga (Mangrangan, Compostela), (4) Managosan, (5) Divavaon (Dibabaon, mixed Manobo Mandaya), and (6) Karaga.\n\nThe Mandaya occupy upstream areas, practicing slash-and-burn cultivation in highly dispersed settlements. In addition to a wide range of cropping for domestic consumption, abaca is cultivated as a cash crop. Rice, various tubers, and bananas form the bulk of their diet. Communities are dispersed usually near swiddens. Two or three family units usually occupy houses, and these are usually within sight even if dispersed. Proximity of these houses constitutes a neighborhood, which is loosely organized into a larger discrete domain with all of the households related through various kin relationships. Families are either nuclear or polygynous.\n\nTraditionally, each domain has a headman, bagani, whose word is considered law and who wears distinctive red clothing. He is the recognized protector of the community. His rule is tempered by an advisory council, angtutukay, usually composed of community elders. With the disappearance of the bagani social structure at present, the civil structures of the barangay prevail. There still exists, however, a conflict between the established civil authority and the informal authorities.\n\nThe Mandaya/Mansaka women are famous for their distinctive dresses and ornaments. Their tie-dye weaving and embroidery are intertwined through a sophisticated symbolic art system that evolved design motifs that each have names. The binulanbulan motif, for instance, consists of nested circles representing the moon, and suksuk ng kasili represents fish scales. These motifs are embroidered on blouses against a contrasting red or black background. The beadwork and silver craft on body ornaments mark this group as one of the most noteworthy in terms of art. Unique among Filipino ethno-linguistic groups are the women’s large ornate silver breast ornaments (platina), their multiple fossil shell arm bracelets, and their embroidered blouses. The men wear a distinctive narrow hat constructed from the shaft of a palm frond.

▶ Play Video 5. Ang mga Banal na Krus ng Mayo\nThis episode was first aired on Filipino television on June 6, 1996. This episode has been modified from its original format.\n\nConsidered to be the largest of the Filipino ethnic groups, the Tagalog are concentrated in the metropolitan area of Manila and spread out as the major population of nearby provinces, such as Rizal, Laguna, Cavite, Batangas, Bulacan, and Nueva Ecija. This is a highly urbanized group occupying the very well-developed regions of the country, where the centers of national government are located.\n\nThe national language is actually being built around Tagalog, which is now understood and spoken in other parts of the country. One of the oldest forms of the spoken language is called sinaunang tagalog, and used to be spoken in the municipality of Tanay, Rizal. During the introduction of the Malayo-Polynesian branch of the Austronesian family of anguages, it was pushed northeastward to the areas around the Zambales mountain ranges. Only a small group of Negrito at the foot of Mt. Pinatubo speak the language today.\n\nThe Tagalog are associated with all kinds of agricultural production, usually monocropping with rice as the main crop, silviculture, animal husbandry, and industrial production. They are also engaged in international marketing, politics, and foreign relations. They are equally adept at fish culture--both marine and freshwater--in man-made ponds and cages in waterways.\n\nThe kinship structure is essentially bilateral, with offspring considered linked equally to both parents, and inheritance following the same pattern, although in practice, it takes on a more cognatic nature. In the urban areas and where large properties are concerned, there is a tendency for a lineal distribution of wealth and property in the manner of corporations. Members of the group are involved in all sectors of government practice and in private institutions at the national and international levels. Such an advantage is reflected in the development of the Tagalog in contrast with other ethnic groups. Presently, however, with the development of infrastructure throughout the country, a larger portion of the population is now part of mainstream culture. The index of culture has leveled out within the group such that the subgroups are indistinguishable from one another, except in terms of spoken language.\n\nThe Tagalog are highly Christianized, with the majority belonging to the Roman Catholic Church and the rest dispersed in various homegrown sects, such as the nationalistic Aglipay and the Iglesia ni Cristo. Thus, much of the festivities are founded on Christian liturgy and belief systems.

▶ Play Video 7. The T’boli A People Who Live with Art\nThis episode was first aired on Filipino television on September 19, 1996. This episode has been modified from its original format.\n\nThe T’boli (Tagabili, Tiboli), together with the B’laan to the east and Teduray to the north, are in a single language group distinct from the remaining language groups of Mindanao. The T’boli traditionally live in scattered ettlements in the highlands of southwestern Mindanao, in the province of South Cotabato. The cultural communities surround the complex of highland lakes—Lake Sebu, Lake Selutan, and Lake Lahit. Settlements are composed of family clusters of fifteen or more households. Clusters are at elevations averaging 3,000 feet above sea level. Recently, these settlements have grown to comprise thirty or more households. Each settlement has a ceremonial house called a gono bong (big house). Members of such communities are usually related by kinship.\n\nThe T’boli practice swidden farming, cultivating highland rice (teneba), the staple food, potato, sugar cane, taro, and sweet potato. Corn and coffee are considered cash crops. Owning a horse is an indicator of economic status. Forests function as the main source of food, and the main source of protein is lake fish.\n\nThe T’boli are noted for their backstrap loom textile, t’nalak, which is woven from tie-dyed abaca fiber. Personal ornaments made of multicolored beads and embroidered blouses and hats are other notable features of the T’boli. Small household metal industries use the lost-wax process to manufacture cast brass bolo handles, figurines and betel-nut containers, and other ornaments.\n\nWhile the kinship system is bilateral, there is a strong male dominance. The father leads the household, and the oldest male leads joint and extended families. The oldest male child takes over this dominance upon the death of the father. If there is no son, lomolo is practiced, whereby the father’s eldest brother assumes the wealth of the deceased and claims the latter’s wife as his own.\n\nThe communities are also linked through a recognized leader, the datu, who does not officially command but whose word is respected because of his status, economic means, reputed courage, skill in settling disputes, and wisdom in the interpretation of custom laws. The position is achieved through community validation. He traditionally acquires rights over a person for whom he has paid an unsettled debt.\n\nA major social ritual of the T’boli is the mo-ninum, which is usually celebrated for a marriage and includes a multilateral exchange of articles of wealth (kimu). After six ceremonial feasts, for which the families take turns being hosts (moken) and guests (mulu), the ceremony climaxes with the marriage itself. The whole cycle may take many years to complete and sometimes results in the construction of a gono mo-ninum, a huge house that can accommodate more than two hundred people.\n\nMaguindanaoMandayaKalingaSubanonTagalogManobo

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.

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

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.

To celebrate our first day of the million years ahead\nI'm dressing up our boudoir so it can be fulfilled\nBut if I move here then I'd hit the trunk\nThen I move over there I'd hit the pillow\nAnd I thought it'd be my lover to caress \n\nLullabies (Ru) within the family environment has a hypnotising function, where it's used to ease the child into sleeping. Southern Vietnam (Nam bộ) lullabies was formed and sustained through the many layers of Nam bộ culture. The environmental ecosystem and culture have given it a distinctive form that is expressed through lyrics, melodies, and rhytms.

I hope our bond can last till tomorrow\nA thread can be sown into fabric, the iron can grind into a needle\nAnd if one day we fell into hardship\nOur precious bond can last like how a resilient rope is\n\nLullabies (Ru) within the family environment has a hypnotising function, where it's used to ease the child into sleeping. Southern Vietnam (Nam bộ) lullabies was formed and sustained through the many layers of Nam bộ culture. The environmental ecosystem and culture have given it a distinctive form that is expressed through lyrics, melodies, and rhytms.

The deep river is hard to wade through\n(I'm) afraid that the ferry won't carry (us) through the other side\n\nLullabies (Ru) within the family environment has a hypnotising function, where it's used to ease the child into sleeping. Southern Vietnam (Nam bộ) lullabies was formed and sustained through the many layers of Nam bộ culture. The environmental ecosystem and culture have given it a distinctive form that is expressed through lyrics, melodies, and rhytms.

Gobies joined the convent, mackerel cried, snakehead sorrowd\nOnly if the ocean has a bridge\nSo you can come and comfort my blues\n\nThe blues (Hò) is a folk genre that originates from the working environment. Thanks to hò, it's helped the worker to aid their spirit, harmoneously integrate with the social interactions to bring out the best productivity outcome.

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.'

Oral tradition consists of diverse narratives. It is passed on by word of mouth as everyday wisdom and transmitted through the generations. After that, it becomes infused in a region’s history, philosophy, and way of life, thus forming the foundation for a community’s knowledge systems. This volume introduces traditional tales in Sri Lanka, Palau, Kyrgyzstan, and Vietnam.

On 28 October 2020, ICHCAP and the UNESCO Apia Office co-organized the 8th Pacific Network Meeting virtually. This meeting report includes presentation materials from the 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.\n\n

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 15 is 'ORAL TRADITIONS AND PRACTICES RELATED TO SNAKES.'