Abstract: East Asian countries such as Mongolia, the Republic of Korea, the People’s Republic of China, the Democratic People’s Republic of Korea, and Japan have had interactions and cultural exchanges for a long time ago. This paper is therefore about safeguarding the “Shared Heritage” in East Asia. Writing down the shared intangible cultural heritage in East Asia requires an understanding of the concept of sharedness from the perspective of commonality, similarity and recognition, and mutual acceptance. \n\nThis paper enumerates the Mongolian government’s initiatives and efforts to safeguard the shared intangible cultural heritage elements, such as “Falconry, a living human heritage,” and the challenges we face.

“A man in Pamir, from birth to death, is accompa- nied by all sorts of family and everyday rites and customs. In many traditions, including the prepa- ration and use of food, traces of deep geographical and climatic isolation are clearly visible.The Pamir highlanders who lived in closeness with their nature had a great culture, rich in traditions, cults, customs which created humane framework of actions in relation to wildlife. Cultural values and practices re- lated to caring for nature at the same time supported the life of the mountain peoples. This culture has become the main priority for the effective,reasonable and rational use of wildlife resources.Such behavior not only contributed to the survival of the mountain population in the most severe climatic conditions, but also became the main factor in the conservation of wild fauna and flora.

The life of the Bauls of Bangladesh revolves around body-centric ascetic practice termed sadhana. Bauls believe in the co-existence of every element of the endless Brahmanda, meaning universe in the human body. Thus, they make caring for the body their highest priority over anything else. They have created extensive verse about body-centric sadhana codes that they transmit through song. The verses or songs include descriptions of control over the consumption of daily necessaries, mainly food. And, they believe in the doctrine মানুষ যা খায়, সে তাই (a human is what he or she consumes). They also judge food as medicine, as the need to live a hale and hearty.

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.

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. 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.

The harp is one of the earliest musical instruments of the world. World musicologists believe that the Harp was a musical instrument used by ancient man who hunted with bows and arrows. Harps now being used by people of the contemporary world fall into two types the bow shaped type and the trangle shape type. Of the two the bow shaped harps are said to be the earlier type.\nIn Myanmar, ancient chronicles say that harps were being played as early as in the Pyu Period. In February of 802 A.D. Sri Khettra despatched a Pyumusic and dance ensemble to Chan-ann the city of the Tang Dynasity of China. Tang Dynasty chronicles say that the Pyumusicians had with them two harps with pheasant’s head shapes, two harps with corcodile’s head shapes, one flat harp in the shape of a dragon’s head, one flat harp in the shape of rain clouds, two flat harps of big gourds, one flat gourd-harp with a single string and one small flat gourd-harp. \nAmong rock relief sculptures found on the walls of the Ananda pagoda built by king Kyansittha in A.D 1084- 1113 is a harp which indicates that the harp was in general use in those days. \nSome historical researchers say that Myanmar harp began with 7 strings and is used 13 strings until the down of Konbaung period. And then the harpist U Nyein added one more string in the late of Konbaung period and the harpist U Ba Than added two more strings in the year of 1960s. So Myanmar harp has played with16 strings from that time to now. \nMyanmar harp strings are strung and fastened to the arm of the harp by means of fastening cords or by means of pegs pushed through the arm it is called Let yone. In the old days, fastening cords were tied to the arm in a special kind of knot to prevent the cords slowly slipping down. The present way of making such a knot is of a reef-knot method. \nThe strings of the harp are raw silk twisted to different thicknesses. They are tuned not with pegs but by adjusting the tautness of the strings through loosening or tightening the tassels round the neck. \nThe part where the neck joins the sound box is shaped like a leaf of the saga: (champac) while the stern is shaped like bowl. The tip of the nek is shaped like the leaf of the banyan tree. The neck is made of sha: (acaciacatechu) wood. The sound box is covered with a membrane of deer skin. \nHoles are perforated along the ridge to hold the ends of the strings. The intervals between the holes need to be of correct proportion, otherwise, the harp tends to be out of tune and also lacks proper form. \nHence, the ridge is a critical component of the harp. Today Myanmar harp is being used not merely as musical instruments they are also being used as artifacts to decorate the top room of dwellings. This is being done by way of honouring a musical instrument that has played an important role in development of Myanmar Culture. More sophisticated musical gaegets may emerge time passes, but the harp will ever remain as a heritage of Myanmar musical traditions.

Gandharba, also written Gandharva or Gaine is one of the musician communities of Nepal. This community has their own unique culture, musical instruments, music, traditions, festivals, language, rituals and social practices perpetuated from their forefathers. Long before the postal networks and the use of electronic communications in Nepal, the musicians of this unique community would roam all over the nation to spray the news in the form of songs and music. The Gandharba were the sole entertainer and the information disseminator of the numerous isolated communities across the mountains of Nepal. Thus they are also wknown as the messenger of the nation. But due to the Modernization, Urbanization, Socio-economic challenges, limited Education and other changes seen in the society; the present status of the Gandharba community’s identity and the intangible cultural heritage is at risk. The outcome of this research have identified the major challenges of the survival of the community’s identity and possible solution and suggestion for building effective networking system among the Gandharba communities of Nepal to confront the challenges and to support, revitalize, reconstruct and safeguard their intangible cultural heritage and their identity in a long run.

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.