(4)Xian Gong Bridge

Closely linked to daily life and the cycle of the seasons, their belief systems form a mystical world where the gongs produce a privileged language between men, divinities and the supernatural world. Behind every gong hides a god or goddess who is all the more powerful when the gong is older. Every family possesses at least one gong, which indicates the family’s wealth, authority and prestige, and also ensures its protection. While a range of brass instruments is used in the various ceremonies, the gong alone is present in all the rituals of community life and is the main ceremonial instrument. \nThe manner in which the gongs of Vietnam are played varies according to the village. Each instrumentalist carries a different gong measuring between 25 and 80 cm in diameter. From three to twelve gongs are played by the village ensembles, which are made up of men or women. Different arrangements and rhythms are adapted to the context of the ceremony, for example, the ritual sacrifice of the bullocks, the blessing of the rice or mourning rites. The gongs of this region are bought in neighboring countries, and then tuned to the desired tone for their own use.\nEconomic and social transformations have drastically affected the traditional way of life of these communities and no longer provide the original context for the Gong culture. Transmission of this way of life, knowledge and know-how was severely disrupted during the decades of war during the last century. Today, this phenomenon is aggravated by the disappearance of old craftsmen and young people’s growing interest in Western culture. Stripped of their sacred significance, the gongs are sometimes sold for recycling or exchanged for other products.

The gendang is a traditional drum from Sarawak, Malaysia. This video demonstrates the challenges stemming from the discrepancy between the reality of a decreasing number of gendang-makers and the necessity of maintaining the tradi\u0002tion through the lives of two gendang-makers, Umar Tomik and his younger brother Safuan Tomik. \n\nIt also encompasses the methods of producing gendang, the types of wood used, the difference between gendang and drums from other regions of Malaysia, the method of playing the drum, types of drum performances, and stories behind the design of the drum.

4 Wa musicians are playing their traditional instruments including Chan Lagwin, Ga Yauk Toun maun, and Gon Ozi. Wa dancer is dancing with holding Mython's horn in front of musicians.\n

In the ancient time, the sound generated by a striking on the leather stretched on the rice pounding mortar fascinated the ancestors. The idea of Wa traditional long drum originated in it. Cattle leather is stretched on a head and the throat of it is carved with the decoration of convolutions. The chicken breast is coated with the red paint and the lower part is with the black paint. It's played by hands on the head.\n-2 feet and 10 inches in height of long drum\n-4 feet and one inches in the circumference of chicken breast\n-15 inches in diameter of leather surface\n-18 inches in the circumference of throat

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.

The book describes different elements of Bhutanese intangible culture under five chapters. Learning, studying, promoting and transmitting the Bhutanese culture, and its essence — the intangible cultural heritage — is a sublime obligation for each and every Bhutanese today. This book will not only serve as a basic manual for the study of the ICH of Bhutan for the future generations, but also inspire them to renew and share their awareness of (and engagement in) the research of our culture and traditions.

In 2016, ICHCAP organized the 2016 Asia-Pacific ICH NGO Conference, which was held from 3 to 5 November in Jeonju, Republic of Korea. After the 2030 Sustainable Development Goals (SDGs) were adopted at the seventieth UN General Assembly, SDGs have gained even more attention of the international community. Understanding the importance of SDGs in relation to culture, we held the conference under the theme Achieving SDGs through Safeguarding Intangible Cultural Heritage. The outcome report includes the meeting agenda and outcomes as well as photographs and presentation papers by the participants.

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.\n\n