Making various objects — such as hoes, mowers, tesha and other household items, is called ironmaking. The emergence of Ironmaking goes back to the ancient history of humanity. In the territory of Uzbekistan Ironmaking works are carried out in special shops. At the blacksmith’s shop, the oven, qura, supa, ura, chupkunda; and instruments sandons, bosqon, hammers, bulls, eaves, mills, and others are used. The blacksmith smokes iron on a firebug and warms it into the metal cluster when it becomes a white color and he puts it in the sandon and hooks it until it reaches the required shape. This is done by the master, the bosqonchi and the damghir. Blacksmith profession is mastered by the master-apprentice system.

Making various objects — such as hoes, mowers, tesha and other household items, is called ironmaking. The emergence of Ironmaking goes back to the ancient history of humanity. In the territory of Uzbekistan Ironmaking works are carried out in special shops. At the blacksmith’s shop, the oven, qura, supa, ura, chupkunda; and instruments sandons, bosqon, hammers, bulls, eaves, mills, and others are used. The blacksmith smokes iron on a firebug and warms it into the metal cluster when it becomes a white color and he puts it in the sandon and hooks it until it reaches the required shape. This is done by the master, the bosqonchi and the damghir. Blacksmith profession is mastered by the master-apprentice system.

Making various objects — such as hoes, mowers, tesha and other household items, is called ironmaking. The emergence of Ironmaking goes back to the ancient history of humanity. In the territory of Uzbekistan Ironmaking works are carried out in special shops. At the blacksmith’s shop, the oven, qura, supa, ura, chupkunda; and instruments sandons, bosqon, hammers, bulls, eaves, mills, and others are used. The blacksmith smokes iron on a firebug and warms it into the metal cluster when it becomes a white color and he puts it in the sandon and hooks it until it reaches the required shape. This is done by the master, the bosqonchi and the damghir. Blacksmith profession is mastered by the master-apprentice system.

Making various objects — such as hoes, mowers, tesha and other household items, is called ironmaking. The emergence of Ironmaking goes back to the ancient history of humanity. In the territory of Uzbekistan Ironmaking works are carried out in special shops. At the blacksmith’s shop, the oven, qura, supa, ura, chupkunda; and instruments sandons, bosqon, hammers, bulls, eaves, mills, and others are used. The blacksmith smokes iron on a firebug and warms it into the metal cluster when it becomes a white color and he puts it in the sandon and hooks it until it reaches the required shape. This is done by the master, the bosqonchi and the damghir. Blacksmith profession is mastered by the master-apprentice system.

Foshan Woodblock Painting is a kind of well-known folk woodblock paintings of South China. It is mainly produced in Foshan City, Guangdong Province, Consequently it was named Foshan Woodblock Painting.\nThere has been much important research on the history of Chinese New Year pictures, but there are still different opinions on how to rescue New Year pictures from the brink of disappearance and how to fit them into the modern life. As far as Liu Zhongping can see, the revival of New Year pictures is not something that can be achieved by making one or two field visits and publishing one or two articles, but something that needs to be acted out. That is to say, it is necessary to carry out social practice that help to activate traditional culture with a focus on inheritors rather than researchers.\nIn this regard, from the “Intangible Cultural Heritage Inheritors’ Training Program” to the “Revitalization Program of Chinese Traditional Crafts” to the recent “New Year Pictures Back to Spring Festival”, some explorations and attempts have been made around the inheritance and innovation of New Year pictures. From inheritor’s study and training to holding exhibitions and cross-disciplinary dialogues, from developing experience-oriented craft courses to developing new products and expanding sales channels, under the guidance of the intangible heritage protection concepts of “Seeing People, Seeing Things, Seeing Life” and “Leading by Usage” in the new era, New Year pictures practitioners, local people and all stakeholders have gradually regained confidence in the revival of New Year pictures.\nThe first step is always the hardest. On top of a good start, further progress is needed. It’s imperative to know the sticky issues and difficulties and come up with targeted, creative and feasible solutions. As a practitioner, She takes the liberty of thinking about several key points in practice, offering advice and suggestions to practitioners and decision-makers, and hoping to contribute to the revival of New Year pictures. China has entered the twenty-first century. The social scenes that endow New Year pictures with meaning year after year have vanished. It is very difficult for us to ask people to change their house gates back to the old-fashioned style, and it is also very difficult for young people to observe the traditional festival customs. However, what we can do is not only to enshrine New Year pictures in museums, but also to keep pace with the times and find a place for New Year pictures in modern life.\nThrough her effort and hardwork, she focuses on the innovation of Foshan Woodblock Painting and meets the needs young people She updates some painitngs, such as the mobil phones shell, schoolbags, notebooks as well as painitng gift packs. By the resurrection of the gods through a number of newly designed derivatives,now the paitings are popular among the local people. And she believes her master's dream as well as hers of continuing and spreading the national intangible cultural heritages have been realized

The video shows Kazakh keste (embroidery) an original Kazakh folk art and craft. According to experts, the word keste comes from an ancient Iranian word that can be literally translated as “painted”. Since ancient times almost every woman was engaged in embroidery. This art was inherited from mother to daughter. Masters embroidered on domestic canvases, leather, suede, and felt and on imported cloth, silk, cotton, and velvet. Also, experts distinguish the seam biz keste, performed by a conventional tambour seam with the help of a hook. Zeynelkhan Mukhamedzhan, the famous Kazakh artist and master of decorative and applied art, has been reviving this technique. Today, the artist passes his skills to students at the Almaty Art College.

In the quiet Kazakh village of Zhosaly, the threads of tradition, resilience, and love are being woven together—one knot at a time. At the heart of this story is Bakytgul Raimbaeva, a mother whose personal struggle with her daughter’s illness led to the creation of something extraordinary: “Ansagan,” a school of traditional Kazakh folk crafts for children with disabilities.\n\nWhat began in 2007 with just four girls—including her daughter Ansagan, who had been diagnosed with a painful and incurable skin condition—has grown into a life-changing creative community of more than 130 students. Children who once felt isolated and hopeless now find joy, purpose, and healing through the ancient art of carpet weaving, korpe-making, and felting. Here, they learn to create with their hands, share laughter, and rediscover strength they never knew they had.\n\nGuided by the belief that every thread carries emotion and intention, Bakytgul teaches not just a craft but a philosophy: weave only with positive thoughts, and your creation will carry healing energy. With carpets made using traditional Kazakh methods and designs—like ornék looms, tekemet rugs, and sacred motifs—this grassroots school revives and preserves centuries-old techniques once passed from grandmother to granddaughter.\n\nAmong the pupils are teenagers like Kuralai and Inkar, who have mastered complex weaving skills and find pride in their cultural roots. But at the heart of it all remains the story of a mother's devotion. Miraculously, two years after the school was born, Bakytgul witnessed the impossible—her daughter Ansagan stood up and walked again.\n\nToday, “Ansagan” is more than a workshop—it's a sanctuary of cultural revival, inclusion, and hope. Supported by the village and driven by a passionate mission, Bakytgul continues to teach, inspire, and heal through craft, proving that folk art is not just a legacy of the past, but a force for transformation in the present.

Mongolian craftsmen of folk music instruments craft Morin khuur (horse-head fiddle), ekil (two-stringed wooden fiddle), khuuchir (four-stringed instrument), tsuur (three-holed vertical flute), tovshuur (two-stringed lute), limbe (side-blown flute), yatga (zither), yanchir (dulcimer), shudarga (three-stringed lute) and others with specific features and characteristics in conformity with their locality and historic background. Over a span of time, the styles of these folk instruments were developed and improved in quality and designs. The selection and procession of materials are crucial importance to crafting the folk instruments. The traditional craftsmanship of folk music instruments is an outstanding outcome of centuries’ long research and experiment of craftsmen and musicians. \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.

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

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.

ICH Video Production in the Asia-Pacific Region : Central Asia\n\nRapid urbanization and westernization are changing the environments in which intangible cultural heritage is rooted. The importance of documentation that traces the effect of social changes on intangible cultural heritage is being emphasized as a safeguarding measure. Quality video documentation is an important resource that enables the conservation and transmission of existing intangible cultural heritage and raises its visibility.\n\nVideo documentation is the best medium to record intangible cultural heritage in the most lifelike manner, using the latest technologies. It is also an effective tool for communicating with the public. However, conditions for video production in the Asia-Pacific remain poor, requiring extensive support for quality video documentation.\n\nICHCAP has been working to build the safeguarding capabilities of Member States and raise the visibility of intangible cultural heritage in the Asia-Pacific by supporting the true-to-life documentation of intangible cultural heritage as this heritage is practiced and cooperating with experts, communities, and NGOs in related fields.\n\nSince 2010, ICHCAP has hosted annual Central Asian sub-regional network meetings with Uzbekistan, Kazakhstan, Kyrgyzstan, Tajikistan, and Mongolia to support the ICH safeguarding activities of Central Asia. Through their collaboration, ICHCAP has supported projects involving collecting ICH information, producing ICH websites, and constructing ICH video archives.\n\nAt the Sixth Central Asia Sub-regional Network Meeting in Jeonju in 2015, ICHCAP, four Central Asian countries, and Mongolia adopted a second three-year cooperation project plan on producing ICH videos to enhance the visibility of ICH in Central Asia.\n\nICHCAP developed guidelines and training programs for the project and invited video and ICH experts from the participating countries, and held a workshop in November 2015. After the workshop, focal points for the project were designated in each country, and each focal point organization formed an expert meeting and a video production team to produce ICH videos.\n\nInterim reports were submitted to ICHCAP in February 2016, and the first preview screening was held in Dushanbe, Tajikistan, during the Seventh Central Asia Sub-regional Network Meeting in May 2016. Since then, each country has carried out the project according to the project plan. ICHCAP met with each country between October 2016 to February 2017 to check on the project progress.\n\nAfter the final preview screening during the Eighth Central Asia Sub-regional Network Meeting in Bishkek, Kyrgyzstan, in 2017, final editing process took place in each country, and fifty ICH videos were completed by October 2017.\n\nAll photos introduced on this page along with fifty ICH videos are from the exhibition 'Living Heritage: Wisdom of Life' held in the Republic of Kyrgyzstan and the Republic of Korea. Designed for introducing various ICH in the five countries, this exhibition shows photos on representative twenty elements in each country collected during the process of on-site survey and documentation for ICH Video Production Project in Central Asia by experts participated in the ICH video production project.\n\nICHCAP will continue its ICH documentation projects in the Asia-Pacific region for the next ten years by expanding the scope from Central Asia and Mongolia to Southeast Asia, Southwest Asia, and the Pacific.\n\n\nPartners\nMongolian National Commission for UNESCO • National Commission of the Kyrgyz Republic for UNESCO • National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • National Commission of the Republic of Uzbekistan for UNESCO • National Commission of the Republic of Tajikistan for UNESCO • Foundation for the Protection of Natural and Cultural Heritage Mongolia • National Committee for the Safeguarding of the Intangible Cultural Heritage under the National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • School of Fine Art and Technical Design named after Abylkhan Kasteyev • State Institute of Arts and Culture of Uzbekistan • Tajik film • Tajikistan Research Institute of Culture Information • Korea Educational Broadcasting System • Asia Culture Center\n\nSupporters\nUNESCO Almaty and Tashkent Cluster Offices • Cultural Heritage Administration • Panasonic Korea • Turkish Airlines

The genre Lý is a common performance genre across all three regions of the country, although it could be the most popular in the Southern region. Pétrus Ky, a renowned Vietnamese scholar, once mentioned the saying “Southern region has lý, Huế region has hò, Northern region has thơ.” (Nam lý Huế hò Bắc thơ) as it points out how lý is a specialty of the Southern locals. In reality, lý not only has its mainstream popularity but also achieved a high level of craft and essence in traditional culture and professional life of the Southern region.\n\nNam Bộ (Southern Vietnam) is the area resides on the south side of Vietnam, including six provinces in the East and 13 provinces in the West. On a geographically level, the land of Nam Bộ is a stable region, in contrast to its cultural environment that is constantly changing and evolving.\n\nNam Bộ is home to various ethnic communities, such as the Việt people, the Kh'mer people, the Chăm people, the Hoa people, the Châu Ro people, the S'tiêng people, the Mạ people...And so, this has created a legacy to Nam Bộ folk performances and culture on this land. However, project "Phong hoa ca vịnh" only limits to the performance traditions of the Viet people, specifically the genres of ru, hò, and lý.\n\nFrom what was described about the early 20th centuries, it is evident how Nam Bộ art performance scene has rapidly transformed. No longer the time where lovers freely conversing their hearts by the rivers, all has sank into oblivion. Even the ru melodies have stopped lingering on the mother's lips, lost within the memories of her children. Culture and its nature of constantly evolving have opened up a contemporary cultural space that can response with today's society. The cyberspace, despite being "unreal", but it's meaningful enough to create an environment that filled with the poetry of ru, the melodies of lý, the bustling groove of hò - Where they have gathered a range of humanly emotions.\n\nThe songs (Lý) is like a river that flows with affection, where it carries the messages of the elders of Nam Bộ. Lý has the capacity to exist independently, express through it's performance nature. We can get to observe lý when it comes to themes about the many faces and complexities of life. It's like a reflective mirror on all things, events, ideas, and affections that come from humans, from the birds, the trees, the flowers, the river, the ferry, the bridge, the moon,...Every visual images and invisible sentiments are inhibited within those songs and lyrics.\n\nResearch by Mr. Le Hai Dang\nTranslated by Ms. Ha Hoang Minh Trang

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.

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.

ICHCAP, together with the Digital Heritage Lab, Graduate School of Culture Technology, Korea Advanced Institute of Science and Technology, organized an international seminar entitle “Protecting the Past for the Future: Digital Documentation as One of the Imperative Tools for Safeguarding of Cultural Heritage,” 20 July 2019.\n\nThe seminar consisted of three sessions: the first covered the archiving and visualization of intangible cultural heritage; the second focused on digital documentation methods for tangible cultural heritage; and the third discussed the challenges faced by Korea in establishing cultural heritage-related digital data.

Thanks to food storage technology transmitted as a form of traditional knowledge, we can maintain healthy lives. Traditional knowledge of preserving food for a long time allows people to continue their lives even in harsh environments where food is scarce. Intangible cultural heritage as food storage technology has kept the food with the best taste. Let’s take a look at related stories of India, the Republic of Korea, Vietnam, and Kyrgyzstan together.

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 41 is 'Block Printing on Textiles.'

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 27 is 'Auspicious Events and Special Food.'