Three Mother Goddesses: Mother Goddess of Heaven (in the middle, red color), Mother Goddess of Forest (on the left, green color), and Mother Goddess of Water (on the right, white color). \n2014. Photo by Dương Hồng Đức; \n©2014 Viet Nam National Institute of Culture and Arts Studies

The petition ceremony before a spirit possession ritual at Vân Cát Palace, Kim Thái commune, Vụ Bản district, Nam Định province. \n2014. Photo by Nguyễn Văn Huynh; \n©2014 Viet Nam National Institute of Culture and Arts Studies

The band of the singers of the songs for spirits at a spirit possession ritual at Tiên Hương Palace, Kim Thái commune, Vụ Bản district, Nam Định province \n2014. Photo by Nguyễn Trung Bình ; \n©2014 Viet Nam National Institute of Culture and Arts Studies

The word puzzles of Hoa Trượng performance at Dầy Palace festival, Kim Thái commune, Vụ Bản district, Nam Định provincen\n2013. Photo by Nguyễn Ngọc Quang; \n©2014 Viet Nam National Institute of Culture and Arts Studies

UNESCO organized, in collaboration with ICHCAP an intersectoral online expert meeting on ‘Education-related indicators in the Overall results framework (ORF) for the Convention for the Safeguarding of the Intangible Cultural Heritage and their relationship with SDG 4. This online meeting held in three sessions in December 2020, generated important knowledge on the interface between living heritage and education, identified examples to illustrate the relationship, and provided advice for future monitoring and reporting in these related fields.\nThe public webinar aims to raise awareness for the benefits and challenges of monitoring living heritage in education by sharing the results of the above-mentioned intersectoral expert meeting. It will include a brief presentation on the education-related indicators of the ORF and how they can inform the monitoring system of SDG 4. Speakers will be invited to share their experiences and discuss the benefits of this intersectoral monitoring to inspire relevant stakeholders from the education and culture fields to undertake their own initiatives in this innovative intersectoral field. "he intersectoral expert meeting that was held in three sessions in December 2020 was a platform for international experts in the field of culture and education from across the world to deepen the understanding of the education-related indicators and demonstrate more clearly the linkages this has with the reporting on the progress towards quality education for sustainable development and peace. It generated important knowledge on the interface between living heritage and education, identified examples to illustrate this relationship and provided advice for future monitoring and reporting in these related fields. The webinar welcomes all governmental and non-governmental stakeholders interested in culture and education to join this debate on monitoring living heritage in education.

I am Alina Tamrakar. I am an architect currently working in documentation and restoration of heritage structures affected by the massive earthquake of 2015. I belong to Newa community who are the indigenous people of Kathmandu valley. Kathmandu is the capital of Nepal. Born and raised in a typical Newa family who has always put rituals and tradition in the first place, I was always very connected to the cultural heritage of Kathmandu. As I grew up being part of the festivals and rituals, there were always numbers of questions running inside: why do we celebrate these festivals, what is the story behind it, who initiated the traditions and so on. After the devastating earthquake took down so many monuments, some of which carried centuries-old history, it gave me time to reflect on the rich knowledge and skills that our ancestors held and handed it down to our generation. It also explained how tangible and intangible heritage are interlinked with each other. Also, a realization that there is still so much to learn from our heritage and to pass on to the next generation.\nAmong the Newa community, Tamrakars are one of such communities, who follow Buddhism. Gunla is one of many festivals celebrated in Kathmandu valley. It is the tenth month in Nepal Sambat lunar calendar, in which devotees from all around Kathmandu valley visit Swayambhu Stupa that is also one of UNESCO’s World Heritage Sites. The festival of Gunla last for one whole month. In addition to this, devotees also take a visit to different Buddhist courtyards called Baha-bahi and other stupas and chaityas. The devotees in the process recite Holy Scriptures and play devotional gunla music. Music groups from different communities take part in the procession. Like other numerous communities, Tamrakar community also has the musical group named “Tamrakar Gunla Baajan Khala” who have been taking part in playing gunla music and reciting Holy Scriptures from time immemorial. The procession starts from a traditional courtyard called “Piganani” in Maru, near Kathmandu Durbar Square. Piganani is the centre point of the location where Tamrakars initially settled in Kathmandu. Every day for the month of gunla, the community of around 20- 25 (on Saturdays and holidays the number increased to around 50 attendees) start the procession from Piganani at 5:30 am and visit the Swayambhu stupa and come back to Piganani and end the tour at around 8:00 am. On holidays, the team takes a longer route covering other major Buddhist monasteries, chaityas and stupas on the way. During the procession, the devotees and practitioners cover a distance of 6 kilometres.\nUntil three years back, I used to take part in the procession just as an audience listening to people reciting the scriptures and watching the team of young members playing the drums and cymbals to play devotional gunla music. Three years back, I enrolled as one of the practitioners and started taking part in the procession. I came to know that earlier, women were not allowed to play musical instruments in the gunla procession, but only take part as devotees. However, as time passed on, the society opened the doors for women as well. In today’s time, there are a huge number of women practitioners who have taken the initiative to be a part of the team.\nThe tradition of playing gunla music, according to local experts is thousands of years old practice. As much as this musical tour is interesting, it is equally full of knowledge regarding our culture and tradition. Such practices of cultural heritage are not only a matter of pride that an individual or the whole nation takes in but also a major affirmation that such huge collection of knowledge, skill and accomplishment that our ancestors have developed are being transferred to the next generation. Apart from carrying on the tradition, it is also very necessary that we understand the depth of each of these practices in order to keep the tradition alive in the long run. It is equally necessary that we know where our roots lie while we soar up to reach the sky. This is only possible when youths take the initiative to participate in these practices and talk about the “why”, “what” and “how” while they do so.\nDuring Gunla procession different traditional musical instruments are played. “Dhā” and “Nayo khin:” are drums played on one side by bare palm and with a wooden stick on the other are the main musical instruments played during the procession. The small cymbals called “tā” give the beat to the drums and big cymbals and trumpets are played along. For the first time, starting this year, flutes have also been added to the band. The music performance begins with “Dyo lhayegu”, which is a small introductory piece played in order to invoke the “Nāsa dya”, a deity of performing arts. There are separate pieces especially played depending upon the time and place in the procession. For example, the piece played while revolving a chaitya or stupa is different from a one played while beginning the procession.\nThe practice session for each year, begin one or two months prior to gunla month. Anyone who is capable of learning to play the instruments is eligible to participate. The members of Tamrakar community enrol their younger ones once they are ready to take part, while people from other communities are also welcomed to participate in learning and later take part in the procession. The practice sessions take place each evening in the courtyard of Piganani where a guru, a teacher takes a lead in taking music classes. In addition to a regular teacher, the elders in the Tamrakar Gunla Baajan community also offer their presence as well as their knowledge so that the learners get all the support they need. The sessions are one of such encouraging steps that the elder generation in the Tamrakar Gunla Baajan Khala take that make sure that the centuries-old tradition of playing gunla music is safely being transferred to the next generation.

Rooted in the ancestral traditions of the Fatumea and Fohorem communities in Covalima Municipality, Tebe Otas-Uluk is more than a dance—it is a collective act of memory, identity, and reverence. The name itself combines “tebe” (a traditional line dance) with Otas (ancestor) and Uluk (first or origin), signaling a ritual expression dedicated to those who came before.\n\nTraditionally performed by the elders of the community, this dance takes place during important communal gatherings such as ceremonies of healing, protection, thanksgiving, or agricultural celebration. Participants often wear traditional attire and move in side-by-side formations, linked by hands or shoulders, stepping rhythmically in unison to the beat of local drums, gongs, or the babadok (a hand-held percussion instrument). The dance circle forms a symbolic space where the living and the spirits of the ancestors meet.\n\nWhat sets Tebe Otas-Uluk apart is its solemn and purposeful character. The movement vocabulary is simple yet powerful: synchronized steps, grounded footwork, and fluid arm gestures that flow with the communal rhythm. Songs are chanted throughout the dance in the Tetun-Terik language, often carrying metaphorical meanings related to the land, family, and the ancestors’ wisdom. The lyrics function as oral archives, preserving knowledge and history that is not written but remembered through voice and motion.\n\nBecause of its deep spiritual roots, this dance is only performed on specific occasions, often after traditional leaders conduct consultations with spiritual entities or conduct rituals to prepare the ground. Each gesture, each chant, is believed to activate a connection to the ancestral realm—inviting blessings, healing, or protection for the community.\n\nIn recent years, however, the practice has become increasingly rare, with fewer young people learning the movements or understanding the embedded meanings. Despite this, dedicated elders continue to lead and teach the dance, ensuring its survival as a living heritage. For them, Tebe Otas-Uluk is not simply a performance—it is a prayer in motion, a ceremony that anchors the community to its origins and affirms its cultural continuity.

In the rugged landscapes of Timor-Leste, where dry seasons can stretch long and food insecurity remains a reality for many, the people have long relied on their deep knowledge of wild, resilient crops. Among them is Koto-Tisi—a hard, dark wild bean that offers vital sustenance but must be carefully prepared to remove its natural toxins. What might appear at first glance to be just another seed is, in fact, a symbol of survival, ecological wisdom, and ancestral resilience.\n\nThe bean is typically found growing on hardy, thorny shrubs or climbing vines in semi-wild areas. It is gathered primarily by women, who know when the pods are ready to be picked and how to handle them safely. The challenge lies not in harvesting but in transforming Koto-Tisi into something edible—an intricate cooking process that has been passed down through generations.\n\nPreparation begins with repeated boiling and rinsing, sometimes up to five or six times. Each round helps to leach out the toxic compounds present in the bean. The water must be discarded each time, and the beans carefully watched to ensure that they soften without disintegrating. After boiling, the beans are often sun-dried and stored for later use, to be boiled again before eating or ground into a starchy paste.\n\nThe process is labor-intensive and demands both patience and precision. Elders in the community emphasize that the knowledge of how to process Koto-Tisi is not written in books—it lives in memory, movement, and the rhythms of daily life. To rush the process or ignore the sequence could lead to poisoning. For this reason, children are taught to observe closely, assisting their mothers or grandmothers and gradually learning the delicate balance between danger and nourishment.\n\nIn times of drought, scarcity, or natural disaster, Koto-Tisi becomes a lifeline. Its ability to grow in harsh conditions, with little water or care, makes it a dependable fallback when cultivated crops fail. But it is more than a survival food—it is also a testament to how culture and ecology intertwine. The knowledge required to use it safely reflects a deep respect for the land, a skillset honed through centuries of careful experimentation and oral transmission.\n\nToday, as dietary patterns change and imported food becomes more available, the practice of preparing Koto-Tisi is fading in some areas. But in others, it remains a respected tradition—especially among elders who see it not only as food but as a story, a ritual, and a reminder of community strength in the face of adversity.

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

Monitoring Living Heritage in Education: Contributing to Heritage Safeguarding and to Achieving SDG 4\n\nUNESCO organized, in collaboration with ICHCAP an intersectoral online expert meeting on ‘Education-related indicators in the Overall results framework (ORF) for the Convention for the Safeguarding of the Intangible Cultural Heritage and their relationship with SDG 4. This online meeting held in three sessions in December 2020, generated important knowledge on the interface between living heritage and education, identified examples to illustrate the relationship, and provided advice for future monitoring and reporting in these related fields.\n\nSession1: Introduction: 'Education-related indicators for monitoring the Convention for the Safeguarding of the Intangible Cultural Heritage and their relationship with SDG 4.7 reporting' by Ms. Janet Blake, Lead Expert\nMs. Aliso Kennedy, UNESCO\nResponse from Ms. Heila Lotz-Sisitka, senior expert in education (South Africa)\n\nSession2: Illustrative examples of living heritage in education\n1. 'Teaching & Learning with living heritage' by O Madeiro in geography, music and art classes (Spain)\n Response from Ms. Maria Gulraize Khan, senior education expert\n2. 'The children's Museum in Cairo: Educational activities and partnerships with schools to strengthen the safeguarding or intangible cultural heritage' by Ms. Fatma Mostafa, museum specialist (Egypt)\n3. 'The Socio-festive and productive calendar: A pedagogical device for inter-cultural bilingual education' by Mr. Luis Enrique Lopez, senior education specialist (Peru)\n\nSession 3: Panel on Living Heritage in Education: Benefits of (Intersectoral) Monitoring by Ms. Lynette Schultz, senior specialist in Global Citizenship Education (Canada)\nMr. Nigel Encalalda, senior specialist in intangible cultural heritage (Belize)\nMr. Geon Soo Han, senior expert in cultura and education (Republic of Korea)\nMr. Sidi Traore, senior specialist in education and living heritage (Burkina Faso)\n\nSession 4: Closing Remarks\nMr. KEUM, Gi Hyung, Director General of ICHCAP\nMs. Vivebe Jensen, Director of Division for Peace and Sustainable Development, Education Sector, UNESCO\nMr. Tim Curtis, Chief, Living Heritage Entity, Culture Sector, UNESCO

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

qarsak

Barsāti means “rain song.” This genre is associated with the monsoon and often expresses longing for an absent husband. It was sung to ease the labor of transplanting rice. Bent over in cold muddy water, women passed the time chorusing such songs. Here, the woman confides in her husband’s sister of a pain in her side, and a Vaid healer is brought from Mandi. However, her yearning is so intense that she feels she will die without her Ranjha(“true love”), referring to the tragic Punjabi folk epic of Heer Ranjha. The lead singer here is Urmila Rana. This song was recorded in the field. The sound of splashing water and other sounds from the field provide an authentic context. Recorded and collected by Kirin Narayan

O think of the nailed wooden boards\nOr the shaking bamboo bridge that's hard to walk on\nIf it's hard to pass then mother is here to lead\nYou're on the path to school, I'm on the path of life\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.

This chutka song is sung at local festivals in the western region of Nepal. First, the men lead the song and the women repeat the lines, and then the roles are reversed. Musicians also sing and dance as they play. Instruments: khainjadi, majiraa, baansuri

CD7_CA HUẾ (THE HUẾ SINGING) IN CENTRAL VIETNAM\n\nCa Huế (the Huế singing) was a special traditional chamber music in Huế, a central city of Vietnam. Ca Huế originated from royal music. “There was the chamber music, serving the Nguyễn Kings and their mothers”. At first, Ca Huế was the chamber music performed in the palaces of royal families, mandarins, and wealthy people. After that, it spread to common communities. Ca Huế has been gradually influenced by many Huế folk musical types. During its development, Ca Huế affected royal music; for example, ten bản Tàu musical pieces (or it can be called ten bản Ngự or Thập thủ liên hoàn) were played in sacrifice ceremonies or some occasions in the court by royal instrumentalists. Ca Huế is the essence mixture of folk music and royal music, which creates the special nuance satisfying the artistic demand of the elite intellectual class and the common class. As a result, in the past, during happy occasions such as New Year ceremonies, parties for celebrating promotions, or parties for opening new businesses, Ca Huế was organised at the private houses of mandarins, the elite class, and Huế common people.\n\nIn the past, participants of Ca Huế included only the elite class, mandarins, and the people with erudite literary knowledge and with the ability to compose beautiful and profound lyrics. They played instruments together and shared their thoughts through instrumental music and singing. The singing and the instrumental music of one person was the inspiration for the singing and the musical composition of another. Group members were also the audiences. They enjoyed their mutual talents respectfully. In recent years, Ca Huế has been performed on stage to also serve the common people. In this musical type, there is a clear classification between composers, performers, and audiences like professional music. The interactive relation among group members of Ca Huế chamber music can be presently only found in Ca Huế in private houses.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

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.

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 11 is 'ICH AND WEAVING WITH BARK AND PLANTS'.

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 18 is 'TRADITIONAL FERMENTED FOOD'.

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 36 is 'Traditional Embroidery.'

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 38 is 'Funeral Ceremonies and New Beginnings.'