This paper explores how intangible cultural heritage is being adapted and accredited in an autonomous Higher Academic Institution. Kathmandu University Department of Music has been taken as a case study. \n\nThis Department offers Bachelors (B.Mus.), Masters (M.Mus.) and PhD in Ethnomusicology. As part of this study, information has been collected in order to understand the factors that were perceived as the main considerations for quality assurance of the programs in the department. These challenges were explored with accreditation framework following evidence based self-assessed perception methods of the faculties, staffs and the students. The parameters for accreditation were identified after study of documented information of the Department and in-depth interviews with the concerned stakeholders. The results show that there are obvious challenges that exist while accrediting the programs such as standardized reference books, appropriate location, adequate number of youths in the program, and providing support to attract foreign students and mobilizing students in national and international concerts, etc. It is noted that these challenges, however, have minor implications and can be solved at the time being addressing the problems with the structural adjustment and collaborative efforts with the community assuring quality of ICH related courses in ethnomusicology programs.

Co-orgarnized by ICHCAP and Hue Monuments Conservation Centre (HMCC), this year’s Asia-Pacific ICH NGO Conference was held in Hue, Vietnam under the theme of ICH NGOs towards Sustainable Development of Communities.

According to the recent archaeological findings, humans have been living in Sri Lanka since 30,000 BCE. Today, the people are made up of five ethnic groups. Sinhala, which is the majority, Tamil, Moor, Burger, and Malay. This diverse population is made more diverse through religious beliefs; there are devoted Buddhists (both Theravada and Mahayana), Hindus, Roman Catholics, Christians, and Muslims. Each ethnic and religious group has its own ICH, but these communities live in peace and harmony, showing respect to each other as Sri Lankans.

The intangible cultural heritage is without borders but it has owner and sovereignty because the heritage is associated with people, their residence, and practice (Le Thi Minh Ly 2020). Hence, Émile Durkheim (1912), a French social anthropologist, in his famous book of the Australian tribal religious life, convincingly argued that the study of festive events was an essential element to understand people’s social life. He wasprobably the first scholar to conceptualize festivals as central social events in the life of “primitive societies”. Cau ngu festival recreates the traditional cultural space of a coastal fishing village, customs as well as traditional rituals, games and knowledge of the fishermen. In addition, the festival expresses people’s aspiration of an age-old philosophy of living in harmony with the sea, maritime spiritual beliefs and cultural nuances to be preserved and promoted in our life.

"Whether we call it clan, kin, family, tribe, or community, there are multiple ways of knowing and identifying ourselves in the Pacific. A few of these ways are captured here. This section explores how social relationships and their hierarchies within the Pacific islands are vital ways of understanding intangible cultural heritage. Social and spiritual rituals, religious ceremonies, and various other cultural practices reflect how Pacific islanders prioritize social cohesion as a pathway to sustainable prosperity, ensuring the transformation of skills, knowledge, and wisdom for survival. \nThe themes in this section are pivotal to ICH because relationships represent an important organizing principle of life among Pacific islanders and determine how intangible heritage can be safeguarded. Relationships are marked in ceremonial events and rituals such as the communal harvest of balolo in Fiji and other ceremonies such as the bel kol in PNG. Likewise, the omengat, the first-birth ceremony in Palau, brings unrelated clans and families together and is central to family ties and social cohesion. The essays on these and other topics collected in this section illustrate that Pacific islanders take care to mark and honor relationships important to them, as these relationships ensure family, clan, and tribal ties and help to achieve enhanced social cohesion and sustainability."

The Mongolia is rich in Shamanic heritage, including both physical artifacts, ritual sites, places of cultural or historical interest and protected landscapes (‘tangible’ heritage) together with rituals, ceremonies, folklore, music, handicrafts, and traditional knowledge ( known as ‘intangible’ heritage). Under Mongolian shamanism we can understand complete science of nomadic philosophy, TNGRI worship, Sacred of peak mountains ritual, parallel psychology of Heaven, earth, fire and human life and supernatural consciousness of Nomadic. On that account we could understand Shamanism is reliable source of Nomadic culture. The Mongols, who themselves worshiped Heaven but had respect for all other religions. The Shamans are merely respected as priests of Heaven./TNGRI/ In Shamanism; the world is alive full of spirits. The plants, animals, rocks, mountains and water, all have a soul. These spirits must be respected to be in the balance with all of them. Balance is an important thing to keep harmony within you, the community, and the environment. When things get out of balance, there are harmful effects. This is when we need a shaman for help. Shamanisms believe in a concept called buyan (physical power) that is very close to the belief of karma (fate). The shaman loses buyan (buyanhishig) by violating taboos, when he has no respect for spirits or our ancestors.

By using Rakhine Royal Drum was found at the period of Visali of the king of Chandra.\nAt the time of king Chandra, the lyrical ode of the crown princess Saw Pyae Nyo was played with the various kinds of instruments. Long-drum and Than-Lwin-drum contained in this instruments.In the Myanmar era of 897 ( 1535 AD ) when was called Lay Myoe Age, King Min Bar built Yan Aung Zaya Chittaung stupa with a vaulted vase. \nRakhine oil lamp dance, Shawl dance, Powewar dance, the sports of Mrauk.U period such as the posture of wrestling, boxing, the stick martial art and the figures in the posture of playing the Rakhine musical instruments such as the Rakhine Duelong Harp, bamboo pipes wind instrument, melodious small drum , hand-cymbals , cymbals၊ horn, long drum , Marlakhon fiddle, the bugle , the cymbal and the flute were sculpted as the ancient supporting evidences of Rakhine long drum on the western wall of the second tunnel of Shittaung pagoda.Rakhine nationality mostly used long drum. According to the ceremony, the drum which is used to celebrate pagoda festival is called MuYoe Drum. Pan-taja drum is used for the wedding ceremony and the ceremony of propitiate nats. Khat- Ttin drum is used for the funeral ceremony. \nSi- Byaw( kind of long drum ) is used to play the novitiated ceremony. One- headed drum is used for ceremony of pulling gharry. Kyin-drum is used for the posture of wrestling. There are fourteen kinds of Rakhine drum. They are Mhyaut drum, Than Lwin drum, Mu-Yoe drum ( Si-Pyaw ), Singal headed small drum, Big drum (Shan si) , Donmin drum , Si Pataung drum, Si wun drum , Melodious small drum, One-headed drum, Pan:taya: si drum, Pat Si drum (Kyin si), Si chay drum, Si ai drum.

The ships of Joseon Tongsinsa (diplomatic mission to Japan), a symbol of cultural exchange between Joseon and Japan, became the subject of a study as part of an academic restoration project that examines government-built ships as a means to unveil the original form of Joseon warships, including the panok ship and turtle ship.

It has been used for about 1000 years ago. Jade flute is proof that is excavated in Kan Su State,at china.\nThis flute was Kachin traditional instrument.\nBamboo joint that grows from hill-side cultivation is chopped and dried. It is perforated by using drill.\nThere are a total of 8 perforated holes including 6 finger holes, two vent holes for enunciation. The flute with no reed is called flute and the flute with reed is called whirling flute. It has to be blown from air holes and the finger holes are made for opening and closing to produce traditional melody. It has to be played together with oboe, drum, gong and cymbal. Pyi Htaung flute is played for all kinds of Manao house-warming ceremony, grating party and honorable ceremony.

In 1942 (Myanmar Era -1305),, a musician from Hsipaw founded the Shan traditional musical troupe in Namhkaik village. He taught singing, dancing and playing musical instruments during the 3 months of Buddhist Lent. One of his descendents is Shew Cherry Theatrical Performance Troupe which is renown today. This troupe gives performance in charity events and monk funeral ceremonies.