Young animals are castrated at the beginning of summer. The methods to castrate animals differ depending upon the flock or herd. The general ceremony of castration is the same. For instance, in order to castrate flocks, a felt rug or piece of quilted felt is stretched out at the western part of a ger. There is a support piece of the ger that is placed at the right of felt rug facing to the north. On the western side of the man doing the castration, a small sack of millet and a pail of water blended with a bit of milk are also placed. An arrow is set lengthwise on the top of pail. Beside them juniper needles are burnt in an incense-burner. After man did castration, he says as “be lighter than feather and faster than arrow, blood must be dried in time and healing comes in time, khurai khurai khurai, dur dur suukhaa”.

Young animals are castrated at the beginning of summer. The methods to castrate animals differ depending upon the flock or herd. The general ceremony of castration is the same. For instance, in order to castrate flocks, a felt rug or piece of quilted felt is stretched out at the western part of a ger. There is a support piece of the ger that is placed at the right of felt rug facing to the north. On the western side of the man doing the castration, a small sack of millet and a pail of water blended with a bit of milk are also placed. An arrow is set lengthwise on the top of pail. Beside them juniper needles are burnt in an incense-burner. After man did castration, he says as “be lighter than feather and faster than arrow, blood must be dried in time and healing comes in time, khurai khurai khurai, dur dur suukhaa”.

Mongolians make a tea in various ways. We boil the water for tea and add powdered tea to the boiling water and keep it on the soft fire for two minutes. Then we blend the boiling tea with milk and salt. We ladle up and pour back the blended tea in a flurry. We call tea as five dainties. They are water, salt, milk, ghee and tea. We melt ghee or fat of sheep's tail and add millet in the cast-iron pot and fry them. Then we pour hot plain tea without dregs, blend it with milk, put the lid on the pot and keep it for a while. Then we season the boiling with salt and soda. Then we pour it into a kettle. This is called hiitstei tsai or tea with various mixtures. This is thicker and oily tea. It can remove one's fatigue and satisfy one's hunger. Mongolian tea is called as, tiisen tsai (tea in corky tub), bortstoi tsai (tea with pemmican), torguud tea, tea with ravioli, tea with nettle and so on. We have many traditions to make a tea.

Mongolians make a tea in various ways. We boil the water for tea and add powdered tea to the boiling water and keep it on the soft fire for two minutes. Then we blend the boiling tea with milk and salt. We ladle up and pour back the blended tea in a flurry. We call tea as five dainties. They are water, salt, milk, ghee and tea. We melt ghee or fat of sheep's tail and add millet in the cast-iron pot and fry them. Then we pour hot plain tea without dregs, blend it with milk, put the lid on the pot and keep it for a while. Then we season the boiling with salt and soda. Then we pour it into a kettle. This is called hiitstei tsai or tea with various mixtures. This is thicker and oily tea. It can remove one's fatigue and satisfy one's hunger. Mongolian tea is called as, tiisen tsai (tea in corky tub), bortstoi tsai (tea with pemmican), torguud tea, tea with ravioli, tea with nettle and so on. We have many traditions to make a tea.

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

CD6 CA TRÙ SINGING\nCa trù singing has other names such as hát ả đào, hát cửa đình, hát nhà tơ, hát nhà trò, or hát cô đầu. According to Đại Việt sử ký toàn thư (The Complete Book on the History of Đại Việt), Ca trù appeared in the Lý dynasty (1010-1025) under the name Ả đào singing. Many Ả đào singing contests were held in the village communal houses. In that time, village notables often played the praised drum while enjoying the performers singing and threw reward cards to the singers who performed well. That card was call “trù”. Gradually, the way of rewarding the singers with cards became known as Ca trù. This name is found in the poem namely “Nghĩ hộ tám giáp làm giải thưởng cho cô đào hát” (“On Behalf of People from Eight Hamlets to Write the Rewarding Rule for Awarded Singers”) of Lê Đức Mao in 1500. Ca trù is a popular genre of traditional singing and dancing of the Kinh people in the northern and the central Vietnam. The key members of a Ca trù band include one đàn đáy (three-stringed lute instrumentalist) (the đàn đáy is the only musical instrument for accompanying Ca trù), one singer who both sings and plays the phách clappers, and one praise drummer (known as quan viên cầm chầu) player.\n\nCa trù can be performed in a wide variety of places. Ca trù was born to serve as worship singing. From serving as worship at the village communal houses and ancestor worship, Ca trù has changed into singing for entertainment at private houses, restaurants, or cabarets. In addition to these main performance environments, Ca trù was performed at the royal palace and the palaces of mandarins. At present, Ca trù is sung as traditional music. In each performance environment, Ca trù has some changes in terms of the repertoire, musical nature, or performance styles. The CD Ca trù singing (Hát Ca trù) introduces some songs that which were performed for worship and for entertainment. They were recorded in 1970 (tracks 5, 6, and 7), in 1982 (tracks 1 and 4), and in 1997 (tracks 2 and 3) and performed by the three most famous Ca trù folk artists.

CD8_FOLK SONGS OF THE INDIGENOUS CASTES\n\nThe indigenous castes of Nepal have a variety of cultural events to mark different life happenings, from birth to death, which are all accompanied by music. These events depend on topography, and may vary even within a caste. Generally, people express their emotions through music in occasions such as Dashain , MagheSakranti , Purnima , or seasonal events, such as rice transplanting, rice harvesting, or millet plucking. In such festivals, each of the indigenous castes exhibits its way of life and culture through traditional attires, instruments, songs, and dances.

Oral tradition consists of diverse narratives. It is passed on by word of mouth as everyday wisdom and transmitted through the generations. After that, it becomes infused in a region’s history, philosophy, and way of life, thus forming the foundation for a community’s knowledge systems. This volume introduces traditional tales in Sri Lanka, Palau, Kyrgyzstan, and Vietnam.

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 3 is 'ICH AND TEXTILES'.

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 33 is 'Village Guardian Rituals and Communities.'

This book is a collection of the eight selected NGOs’ ICH safeguarding activities in accordance with achieving Sustainable Development Goals, especially Goal 4: Quality Education. With the inclusion of NGOs from Azerbaijan, Bangladesh, Bhutan, India, Indonesia, Mongolia, and the Philippines, this book provides an opportunity to look into the current ICH safeguarding status and environment of the seven countries and to seek measures to overcome the many different challenges involved with ICH safeguarding.