Thánh Gióng’s Statue at Phù Đổng Temple, Phù Đổng Commune, Gia Lâm District Photographer Nguyễn Trung Bình, 2009. © Vietnam Institute of Culture and Arts Studies.

Thánh Gióng’s horse at the enacted battle at Gióng Festival, Phù Đổng Commune, Gia Lâm District.\nPhotographer Xuân Át, 2005. © Vietnam Institute of Culture and Arts Studies

4. Cord and ironwood stake at tug-of-war ground & The rattan cord will be tugged back and forth through a ironwood stake' s hole. Rattan cord used in Hương Canh tug-of-war festival must be at least 45m in length and has a diameter of 3-4cm

9. Tug-of-war of Giáy ethnic minorities in Lào Cai province at Xuống đồng (starting a new crop festival)

Phu Dong Village in Vietnam holds a traditional festival to celebrate Saint Giong from the seventh to the ninth days of the fourth lunar month every year. One of the most important figures in the festival is Hieu, the Flag Commander. It is the Flag Commander's responsibility to select young men of good character from decent families in the village to serve the saint. Those selected are honored by the local residents after taking part in the festival.\n\nThis video shows the social and religious aspects of the lives of local people who worship their local god, as well as the spiritual life of the local community reflected in the festival.

The film is about the traditional village festival in Phu Dong village that is organized annually to commemorate the Giong God from the 7th to the 9th days of the fourth lunar month. Among the Commanders, the Commander of the Flag is the most important, symbolizing the communal God. It is the task of Hieu to choose good people from decent families to serve the God. After taking part in the festival, they are honored by people in the area. The film emphasizes the social and religious aspects of the life of the local village people who worship their local god and the festival reflects the spiritual life of the community.

Kathak is a beautiful and elegant dance which expresses stories through elaborate hand movements and steps. It can be performed by both male and female dancers, and it is called the ‘dance of love’ as it is often performed together by men and women. Dancers wear ghungroo (bell instrument worn on the ankles) on both ankles and dance to the tabla (small drums played in pairs) and sitar (traditional stringed instrument with 18-21 strings). The relentless rhythm of the ghungroo heightens the excitement in the atmosphere, while the quick steps called ‘tatkar’ and spins executed to the fast paced rhythms are elaborate, sophisticated and full of energy.\n\nIn ancient Hindu temples, storytellers used to tell legends through song, music and dance. The name 'Kathak' is derived from the sanskrit word ‘katha’ which refers to the professional art of storytelling, and ‘karhakas’, which means ‘storyteller’. Kathak originated in Northern India in the 3rd to 4th century BC, and was transmitted as a form of puja (prayer ritual) until the 15th century, when it developed into a dance for court banquets under the influence of Persia and the Mughal empire.\n\nCharacteristics:\n∙One of the 8 major traditional dances recognized by the Indian government\n∙Uses the ghungroo (a bell instrument worn around the ankle)\n\nPerformed by Amit Khinchi\nChoreographed by Amit Khinchi

The sudden emergence of Covid19 pandemic dramatically impacted world systems. In the Philippines, the national government imposed the enhanced community quarantine (ECQ) and grappled with ways and means to contain the transmission of the disease and sustain the lives in communities. It promulgated the Bayanihan Heal as One Act which allowed local government units (LGUs) a latitude of protocols to implement in the town level. In the Mt. Province of the northern Cordillera Region, communities had been practicing community quarantine popularly called teer or tengao, the compulsory “rest” day according to different needs and contexts. Eric Zerrudo shares the study of Teer/Tengao, which was one of highly contextualized practice that emerged as an integral experience for a specific construct of ICH in the COVID 19.\n\nASSOC. PROF. ERIC BABAR ZERRUDO is the Director of the University of Santo Tomas Center for Conservation of Cultural Property and the Environment in the Tropics (CCCPET) and faculty of the Graduate School-Cultural Heritage Studies program. Concurrently, he serves as the national coordinator of the CBCP Episcopal Commission for the Cultural Heritage of the Church and heritage consultant for Department of Tourism and NCCA Philippine Cultural Education Program.

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.

Southeast Asia ICH Video Documentary (Philippines)\n\nThe environment surrounding intangible cultural heritage (ICH) is changing rapidly in the face of waves of rapid urbanization and globalization. In the face of such changes, documenting actual scenes of ICH in video form presents one of the most effective ways of identifying trends in ongoing developments and raising the profile of ICH. However, achieving this requires robust support and coordinated efforts due to the relative inadequacy of the conditions for producing such documentary material in the Asia-Pacific region.\n\nThe International Information and Networking Centre for Intangible Cultural Heritage in the Asia-Pacific Region under the auspices of UNESCO (ICHCAP) shines a light on the ICH of Asia-Pacific and introduces its value to the public through video projects depicting ICH. ICHCAP conducts joint projects with member states to portray real-life scenes of ICH alongside experts, communities, NGOs, and other stakeholders in various countries. As a result, it has produced fifty videos on the ICH of Central Asia through the phase-one joint project on Central Asia and an additional fifty videos through the phase-two video project on the ICH of Southeast Asia. These videos are being screened through broadcasting companies and at film festivals in each country, in addition to distribution via YouTube and other\nchannels.\n\nVideos represent the most accurate method of capturing ICH as it exists in the real world, as well as being effective tools for communicating with the public. ICHCAP will endeavor to continue vividly documenting the scenes of ICH that are hidden across the Asia-Pacific region with the aim of raising the profile of ICH elements as treasures of humanity and introducing them to the public.\n\nThis collection includes 10 ICH videos produced by the NCCA in collaboration with ICHCAP.\n\nBuklog: Thanksgiving Ritual System of the Subanen\nPiña Handloom Weaving / Hab\u0002Eon Nga Piña\nThe Feast Of Our Lady Of Peñafrancia\nIfugao Mud Dyeing: The Traditional Dyeing Process Of The Ifugao In Northern Luzon\nParul Sampernandu: The Giant Lantern Tradition Of San Fernando City, Pampanga\nIgal: The Traditional Dance Of The Sama In Tawi-Tawi\nLepa: The Traditional Boat Building Of The Sama In Tawi Tawi\nPoong Nazareno: The Feast and Traslacio of The Black Nazarene Of Quiapo, Manila\nMoryonan: Penitential Ritual Of Marinduque\nMoryon: Mask Making In Marinduque

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

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

This is the history of how Yapese learned several tying patterns and techniques and about where they came from. It was read by Alukan, Bapilung, and Gaangin from the Old Age Program in Yap back in the late 1970s. The tying techniques, along with other traditional knowledge and skills, were handed down from up above, or, some may say, from heavens. The canoe was a gift from above as a means to pass knowledge and skills from heavens to humans in Yap. It is said that the canoe was lowered down on Gacham, a savannah in Tamil municipality. Native Yapese called it “canoe of knowledge” (ba m’uw i llowaen). Even today, you can still see the figure of the canoe and its outrigger that have turned into red dirt. In Yapese traditional culture, knowledge and skills are considered resources of a village. The chief of the village has the authority over the person or the village possessing the knowledge and skills. Therefore, people have to get approval from the chief of the village to learn or access such knowledge and skills. Yapese have used several old tying techniques up until today that are considered to have come from a spider. Legend has it that a nameless man from Nimar village in Weloy municipality observed and mastered all kinds of tying patterns and techniques from the spider on a canoe. These tying patterns and techniques are said to have been applied by the man to build a huge community meeting house named Wedbon in the northern part of Rull municipality. The people from Rull municipality asked this tying master from Nimar village if he could share his knowledge to help build the community meeting house, but he did not consult his chief in advance. The chief was furious that the tying master had never asked for his approval, and scolded him for not taking the proper steps. From then on, all other requests by other communities were channeled through the chief for his approval. Makiy village in Gagil municipality and Malon village in Maap’ municipality gained the approval from the chief to get the knowledge. The techniques and pattern later spread to the southern part of the island, namely Lamear and Ngariy villages in Rull municipality. Soon after, they were passed on from Ngariy to Kanif village in Dalipe Binaew municipality.

This melody was in a Tuồng play called “Phụng Nghi Đình,” and it was performed by artist Nguyễn Nho Túy—the most famous and talented Tuồng artist in Quảng Nam. He followed the Tuồng theatral profession since he was a child, and he was granted with the phó ca certificate of the Huế court. He had great merit in conserving and developing Tuồng art in central Vietnam as well as training many generations of Tuồng performers in central and northern Vietnam.

According to statistics data in 2009, the Hmông people in Vietnam had a population of over one million people, making them one of the larger ethnic minorities in northern Vietnam. The Hmông reside mostly in the provinces of Hà Giang and Lào Cai. They have diverse folk music and folksongs. The khèn (or also known as kềnh) is an aerophonic instrument made up of six bamboo tubes of different lengths. These tubes are put through a wooden resonator. The upper part of resonator is small, connecting to another bamboo section that forms a blowing pipe. A small bronze reed is attached at the part put through the wooden resonator on each horizontal bamboo tube. The shortest and the longest bamboo tubes have two parallel reeds, producing unison sound. Pressing holes are outside the resonator. The player covers the pressing hole of the section and then blows air into it to make the reed vibrate and produce sound. Each tube creates a different sound depending on the length and size. The Hmông playing and pressing techniques include clapping, tremolo, and staccato as well as simultaneity, chord, and harmony. Kềnh of the Hmông people is a polyphony instrument with a bit cracked sound. The register of Kềnh is about an octave. The Hmông people blow the Kềnh during entertainment activities, at funerals, or on the way to the market. Traditionally, the instrument is only for men to accompany singing.

Dá hai is an art form performed on the folk stage by Nùng people in the eastern districts of the northern border. In the 1960s and 1970s, Dá hai drama had a strong development and many groups performing this kind of drama appeared. Dá hai drama had turned into a Nùng style from a form of puppetry Mộc Thầu Hý, a popular art form at village fairs in Cao Bằng Dá hai drama performs ancient stories, such as Phạm Tải - Ngọc Hoa, Hoa Mộc Lan tòng quân (Hoa Mộc Lan joined the army), Hoa phù dung, Tống Chân - Cúc Hoa, Lương Sơn Bá - Chúc Anh Đài, etc. Dá hai has many tunes, depending on content, themes, and details of characters that performers use—Sai va páo (playful, excited), sli páo, pìn táo (lyrical, romantic), cù táo (sad and mourning). The nhị (two-string fiddle) is always played as accompaniment in Dá hai. On a larger stage, Dá hai drama includes the accompaniment of a small orchestra consisting of nhị bố (two-string fiddle with a bass sound), nhị mẹ (two-string fiddle with delicate sound), cymbal, bamboo flute, and small drum. This track has excerpts of characters who, despite broken love affair, should not to be too sad but hope for a better future.

CD2_HISTORICAL RECORDINGS FROM THE 1930S OF ARNOLD BAKE VOL. II: EVERYDAY SONGS\n\nThe recordings by Dutch ethnomusicologist Arnold Adrian Bake in India in the 1930s and later are one of the earliest examples of what may be called “ethnographic” recordings. Arnold Bake and his wife Corrie spent a long time in Bengal but travelled all over India, recording the music, sounds, and other forms of intangible culture of the people. These recordings cover an immense range of music and recitations that are part of people’s everyday lives, such as work songs, devotional pieces, and ritualistic performances, and include a high number of women’s songs and cultural expressions. Bake’s first field trip was in 1925 and his last was in 1955. During that time, he travelled not only to India but also to Nepal and Sri Lanka. Collections of Bake’s recordings are held in archives in the United Kingdom, Germany, and the United States. Recordings from 1925 to 1929 were on cylinders, and those from 1938 to 1939 were recorded on a machine called Tefifon. The collection that has been digitized for this project consists of the recordings made in 1938 and 1939. \n\nThe Tefi recordings were transferred to spools and deposited in ARCE in 1982. During those two years, Bake travelled from Sindh, the Gujarat coast, to Kerala, and thus the recordings are from Maharashtra, Karnataka, and Kerala. There are also recordings made in the Maldives and Sri Lanka. Thus, the selections presented on these albums are largely from the Southwest Coast of India. These recordings were chosen because they carry great historical value yet were not easily accessible until now. NB: The titles given by Arnold Bake have been retained. However, in the notes, places and names have been changed to reflect current designations – e.g. Canarese was changed to Kannada. Place names have also been modified to follow current spelling conventions.\n\nEveryday Songs - The everyday lives of people are what make up the core of intangible cultural heritage (ICH). This selection includes rituals, work songs, devotional and religious songs, as well as common songs that express joys and sorrows. In addition to songs, some tracks include cries and noises, reflecting the wide variety of sounds that Bake recorded.

CD4_NARRATIVE TRADITIONS – ORAL EPICS AND BALLADS VOL. I: THE TULU PADDANA\n\nOral epics, ballads, and narratives form a major part of the background of rituals, storytelling, and local mythologies – all an important part of the intangible cultural heritage of India. The vast range of oral epics in India, most often sung, also contain recitation and prose that explain the text. The meters vary greatly, and they all have different definitions and terms. For instance, the meter and singing of the Alha is called Alha Chhand. A wide variety of types of performances and expression of this genre exist. Some stories are narrated with scrolls that illustrate episodes. Sometimes, they are acted out, and sometimes sung, as in the case of the paddanas, which are performed while transplanting rice. Stuart Blackburn and Joyce Flueckiger distinguish three kinds of oral epics in India: martial, sacrificial, and romantic. Some epics tell a story with multiple episodes and characters, and some are “multi-story” oral epics. Oral epics in India are very closely tied to communities, with performers, audience, and participants all belonging to the same community. Most oral epics are associated to rituals, the performance of some being the ritual itself. Caste also plays an important role in the performance or patronage of the oral epic traditions in India. \n\nThe great epics of Ramayana and Mahabharata in some cases, enter the world of these local oral epics, where the performers are considered to be reincarnations of heroes and gods from these epics. According to Komal Kothari, an eminent folklorist of India, this phenomenon happens when the impact of the oral epic spreads beyond its initial local boundaries. Though we are not able to present full performances of all the oral epics, we believe that these recordings provide a good glimpse into the variety of meters, singing styles, and contexts that exist within these traditions. Three oral epics are presented in this volume. They are all part of larger collections, and each one is contributed by an expert on the genre who has done extensive research. The paddanas were contributed by Peter Claus, the Nanda Devi jagar by William Sax, and Alha by Karine Schomer.

CD6_FLUTE TUNES OF THE HERDSMEN OF NEPAL\n\nCattle rearing is a major occupation for people residing in the rural areas of Nepal. Herdsmen go to the forest with their cattle for grazing. They carry a flute with them so that they can play music for several purposes, such as expressing their feelings, guiding the cattle, and passing time. As the herdsmen move to the forest after eating in the morning and come back at dusk, their only friend for the entire day is the flute. The bamboo flute is very popular all over Nepal as various styles of folk music can be played on it. The sad tunes coming from the flute lure all the herdsmen or workers into the calm and peaceful environment of the forest, where it is easier for them to express their emotions.

This selection tells how native Yapese learned to use betel nuts (areca nuts) and how they learned tying patterns and techniques. It also talks about the roles and responsibilities of newly married Yapese couples and their families.\n

The genre Ru tends to perform within the familial environment, with a hypnotising nature that tends to be use to lull children.\n\nThe genre Hò originated from the working environment. The Southern part of Vietnam, where the waters are a vital element for the workers to sing on these flowing streams. Back then, the genre of hò đường thuỷ (singing on waterways) was rather popular. From traditional performing environment, hò eventually separated into different genres- hò trên cạn (hò on land) and hò dưới nước (hò on water). Based on the carrying content, reflected themes, hò continue to evolve into various genres to adapt with different forms and narratives (hò thơ, hò văn, hò tuồng, etc.) \n\nThe genre Lý is a common performance genre across all three regions of the country, although it could be the most popular in the Southern region. Pétrus Ky, a renowned Vietnamese scholar, once mentioned the saying “Southern region has lý, Huế region has hò, Northern region has thơ.” (Nam lý Huế hò Bắc thơ) as it points out how lý is a specialty of the Southern locals. In reality, lý not only has its mainstream popularity but also achieved a high level of craft and essence in traditional culture and professional life of the Southern region.\n\nThis project is sponsored by the British Council under the program Heritage of Future Past- A 2018 project which aims to conserve and cultivate the archive of Vietnamese music and film, especially focusing on the untapped values of these mediums that are under the threat of being forgotten. You can learn more about the Heritage of Future Past program via this link: https://www.britishcouncil.vn/cac-chuong-trinh/nghe-thuat/di-san-ket-noi.\n\nResearch by Mr. Le Hai Dang\nTranslated by Ms. Ha Hoang Minh Trang

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 6 is 'ICH AND MUSICAL INSTRUMENTS'.

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 28 is 'ICH and Sacred Cultural Spaces.'

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.'

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 42 is 'ICH FESTIVALS ON THE SILK ROAD.'