The film is dedicated to the Kyrgyz folk instrument komuz. An expert on making and playing komuz shares an komuz origin story. The film shows the interconnectedness between the models and melodies of komuz. Outstanding komuz makers and players as well as komuz beginners present some classical komuz melodies in the film.

This film is about traditional Kyrgyz saddles. A saddle-making expert shows the technology behind saddle manufacturing and how to cover the saddle with leather and make ornaments. Specialists also talk about the history of the associated Kyrgyz saddle traditions.\n\n키르기스 전통 안장 ‘에르’ 제작기법\n이 영상은 키르기스의 전통안장에 관한 내용이다. 안장 제작 전문가가 안장 제작 기술과 가죽으로 안장을 감싸는 방식, 그리고 장식품을 만드는 과정과 제작 방법, 키르기스 안장 전통의 역사에 대해 얘기한다.\n\n공동제작\n· 유네스코아태무형유산센터(ICHCAP)\n· 유네스코키르기스스탄위원회\n\n협력기관\n· 한국교육방송공사(EBS)\n· 국립아시아문화전당(ACC)

This film is about traditional Kyrgyz saddles. A saddle-making expert shows the technology behind saddle manufacturing and how to cover the saddle with leather and make ornaments. Specialists also talk about the history of the associated Kyrgyz saddle traditions.

▶ Play Video 7. The T’boli A People Who Live with Art\nThis episode was first aired on Filipino television on September 19, 1996. This episode has been modified from its original format.\n\nThe T’boli (Tagabili, Tiboli), together with the B’laan to the east and Teduray to the north, are in a single language group distinct from the remaining language groups of Mindanao. The T’boli traditionally live in scattered ettlements in the highlands of southwestern Mindanao, in the province of South Cotabato. The cultural communities surround the complex of highland lakes—Lake Sebu, Lake Selutan, and Lake Lahit. Settlements are composed of family clusters of fifteen or more households. Clusters are at elevations averaging 3,000 feet above sea level. Recently, these settlements have grown to comprise thirty or more households. Each settlement has a ceremonial house called a gono bong (big house). Members of such communities are usually related by kinship.\n\nThe T’boli practice swidden farming, cultivating highland rice (teneba), the staple food, potato, sugar cane, taro, and sweet potato. Corn and coffee are considered cash crops. Owning a horse is an indicator of economic status. Forests function as the main source of food, and the main source of protein is lake fish.\n\nThe T’boli are noted for their backstrap loom textile, t’nalak, which is woven from tie-dyed abaca fiber. Personal ornaments made of multicolored beads and embroidered blouses and hats are other notable features of the T’boli. Small household metal industries use the lost-wax process to manufacture cast brass bolo handles, figurines and betel-nut containers, and other ornaments.\n\nWhile the kinship system is bilateral, there is a strong male dominance. The father leads the household, and the oldest male leads joint and extended families. The oldest male child takes over this dominance upon the death of the father. If there is no son, lomolo is practiced, whereby the father’s eldest brother assumes the wealth of the deceased and claims the latter’s wife as his own.\n\nThe communities are also linked through a recognized leader, the datu, who does not officially command but whose word is respected because of his status, economic means, reputed courage, skill in settling disputes, and wisdom in the interpretation of custom laws. The position is achieved through community validation. He traditionally acquires rights over a person for whom he has paid an unsettled debt.\n\nA major social ritual of the T’boli is the mo-ninum, which is usually celebrated for a marriage and includes a multilateral exchange of articles of wealth (kimu). After six ceremonial feasts, for which the families take turns being hosts (moken) and guests (mulu), the ceremony climaxes with the marriage itself. The whole cycle may take many years to complete and sometimes results in the construction of a gono mo-ninum, a huge house that can accommodate more than two hundred people.\n\nMaguindanaoMandayaKalingaSubanonTagalogManobo

This book contains the presentation and discussion of the above international conference in the form of an online strategic meeting with Webinar, and the first chapter contains webinar presentations on the theme of Life, Environment and Intangible Heritage of Silk Road. In addition, Chapter 2 contains rich examples of the diversity of intangible cultural heritage festivals, and chapters 3 and 4 contain network construction methods and presentations on joint cooperation projects through networks, respectively. In addition, a summary of each presentation and discussion on each topic were included, along with recommendations to create the Silk Road Intangible Heritage Network for 2021.

2020 World Forum for Intangible Cultural Heritage

ICHCAP published the book Living Heritage Series – Traditional Musical Instruments in collaboration with the ICH NGO Forum’s #HeritageAlive.\n\nProven from a long history, music shares thoughts and emotions among community members who play the instruments and enjoy it. This book was made with the contributions of fifteen writers from countries across the globe. The authors describe the current status of traditional music and provide insight on how to revitalize these traditions based on the 2003 Convention.

Kathakali (lit. story- play) is a highly sophisticated and stylized semi-classical dance drama prevalent all over Kerala. It evolved amalgamating features from all folk and classical performing art forms of Kerala. \nKathakali as a performing art evolved from Ramanattam. The King of Kottarakkara adapted eight episodes from the Ramayana as Ramanattam. However, in the 17th century, the King of Vettathu Nadu modified Ramanattam to develop a classical dance-drama, the Kathakali.\nKathakali derives its themes from the Indian epics, the Ramayana, the Mahabharata and the Bhagavata Purana. The language used for the songs in Kathakali is a mixture of Malayalam and Sanskrit (manipravalam). For theatric communication, the actor uses dance movements, a codified language of gestures and facial expressions. Kathakali displays great dexterity and potential for the actor to show his histrionic and interpretative skills through resorting to an elaborate method of acting.\nThe performance of Kathakali follows a particular sequence. At dusk, the percussionists play their instruments to announce the event (keli). The traditional lamp is lit in front of the performing area (vilakku veppu). The horizontal drum is played to signal the commencement (arangu keli or suddha manddalam), and singers recite the invocation (sloka). \nTwo performers dance a ritual invocation behind the curtain, salute the deities. \nAnother prayer dance is performed in front of the curtain, followed by the ensemble of the drums (chenda, maddalam, chengila, elathalam). The actual story (katha) begins only after these preliminaries. \nIn Kathakali, the make-up and costume represent different traits of character. The colours are symbolic; green represents satwik (pious and virtuous characters); red patch on a green face to represent rajasi’(valorous characters); and a thadi (beard) is added to represents tamasic (evil traits of a character). Elaborate costumes and intricate face make-up In Kathakali is done to mask the human face and invest it with super-human characteristics. \nKathakali has transformed over the recent years from all-night performances in temples and other sites, to three-hour presentations in contemporary settings. The plays have become abridged to suit the tastes of a new audience.