The Kyrgyz komuz is a national musical instrument. Traditionally, komuz was made from a single piece of wood. The instrument has three strings, which were traditionally made from dried ram innards, but in modern times, fishing lines are often used instead.

Taumako, one of the Duff Islands, is a Polynesian island within the Santa Cruz group in Temotu Province to the southeast of the Solomon Islands, in the southwestern Pacific. Taumakoans speak the Veakau-Taumako language, which comes from the Samoic branch of Polynesian languages. Taumakoans still practice ancient navigational techniques and are known for building a type of proa sailing canoe, the Tepuke, using local materials. They maintain traditional ways of living, relying heavily on subsistence farming and fishing.

The question of how to apply integrated approach in ICH safeguarding is a fundamental issue in implementing the 2003 Convention. It also entails further questions not only for intangible heritage field, but also other relevant cultural heritage fields.\n\nThis session aims to find out the best method of integrated approaches from the viewpoint of ICH safeguarding within the framework of the 2003 Convention. Such aim will require a discussion of the intangible value of tangible heritage and an inquiry of the tangible elements of ICH by looking into various case studies of 'cultural spaces’.\n

Gardening is a popular branch of traditional agriculture in Tajikistan. The term bāgh (garden) among Tajiks has three meanings: a home garden inside one’s own yard; a walled garden alongside the yard; and a garden far from the home and yard, where people go during summers to temporarily live and work. In these gardens, people grow fruit-bearing and shady trees as well as flowers and other crops.

Folkland, International Centre for Folklore and Culture is a nonprofit NGO devoted to promoting folklore and culture. Headquartered in Kerala in south-western India, Folkland has three main centers and several chapters in India and associations with other organizations abroad through MOUs and collab-orative partnerships. Folkland has been affiliated with the UNESCO ICH sector since 2010. Folkland envisions a society that respects cultural heritage by conserving arts and cultural traditions and transmitting them to future generations. As such, Folkland is proudly dedicated to promoting Indian culture and values with a focus on intangible cultural heritage. The center provides access to knowledge and information about intangible cultural heritage and is known for promoting indigenous culture that inspires audiences to explore the cultural and artistic heritage of Kerala. The main domains covered by Folkland are performing arts; oral traditions and expressions; social practices, rituals, and festivals; and traditional crafts. Folkland documents oral traditions and practices and extends training to younger genera-tions to revitalize old and near-extinct traditional art forms. One ICH element of particular interest to Folkland is tolpavakoothu (shadow puppetry).

Around four thousand years ago, Austronesian-speaking people sailed from Taiwan into the greater Pacific. A thousand years later, they were the first people to land in Vanuatu and Tonga. Then these Austronesian voyagers mixed with Papuan populations in what is now Papua New Guinea, and those people later became the Polynesian voyagers. Evidence now suggests that the extent of Austronesian and Polynesian voyaging was greater than once thought, ranging from Madagascar to Brazil—over two-thirds around the globe. The seafaring vessels that the Austronesian voyagers created were the vehicles of the greatest human migration ever made.

The culture in the East Coast of Malay Peninsula are rich in visual and performing arts inherited over time immemorial. The art is also found to have similarities in three different states, despite their geographical gap. The similarities are shared in dialects, languages, presentations, builds, and past legacy artifacts. The Malay craftsmanship is also dominated by the Malay community in the East Coast and it is also produced in the form of art and fashion. Artifacts such as boats, houses, and furniture are still visible until now and they have high artistic value. This paper is aimed at displaying the various type of Malay traditional boats and symbols produced by the Malay community on the craft of the boat. There are several name of the boats produced by local craftsmen based on their function and usability. For example, a small line boat is used in river and coastal areas, the payang boat used by deep-sea fishermen, and the jokong boat is used to transport heavy goods. The art can be seen in the carvings and paintings produced on traditional Malay boats craftsmen in the East Coast. This art does not only serve as an ornament and for its aesthetics, but also has its own symbolism. The decorative art produced shows that the three main aspects necessary in Malay art are function, aesthetics, and ethics. The belief in the existence of supernatural powers – which preserve and safeguard their safety at sea and their ability to get income from marine products – underpins the craft of this decoration art.

"In a region as geographically immense and culturally diverse as the Pacific, intangible cultural heritage must be seen in terms of diverse worldviews, each with its own knowledge system and philosophy of life that structures and informs. This section addresses how intangible cultural heritage is reflected through specific cultural worldviews. As specific and unique as they are, however, each Pacific worldview can be seen as having a commonality structured by three dimensions: the spiritual, the physical, and the afterlife or ancestral realm. \nDespite their commonalities, the themes in this section still represent Pacific elements of knowing, philosophy, governance, and wisdom that sculpt life from vastly unique perspectives. The Tongan concept of heliaki, for instance, is not just a knowledge of language and prose, but rather a construct through which the Tongans build views about themselves and their interactions as well as the hierarchy within their society. In a similar way, Palauan place names are much more than words to mark locations; they are capsules of knowledge, events, and history that help the Palauan people identify themselves and their connections to one another. In these and the other themes in this section, the included values incorporate how the Pacific peoples perceive reality and interconnectedness and how their knowledge has shaped their worlds."

On identifying and researching the intangible cultural heritage of Ukraine together with local communities, local and regional cultural organizations, Development Centre “Democracy through Culture,” as an NGO accredited to UNESCO for ICH issues and engaged in ICH safeguarding, has found that music and singing traditions are inherent in all regions and localities of Ukraine as one of the most important national ICH manifestations. Among the different types of these arts (including one inscribed into the List of Intangible Cultural Heritage in Need of Urgent Safeguarding, Cossack Songs of Dnipropetrovsk Region) there is one common and popular elsewhere, reflecting the past, present, and provisional future of Ukrainian culture. \n\nWhat is referred to as music and singing art is related to bandura. A bandura (Ukrainian: бандура) is more than a traditional music instrument in Ukrainian culture—it represents the entire social and cultural complex combining such integral parts as bandura making, bandura \nplaying, and bandura singing, writing texts of special poetical forms (dumas), performing, leading a certain lifestyle of travelling performer or travelling philosopher. Bandurysts, musicians who play the bandura have had a profound impact on Ukrainian folk culture as bearers of special knowledge and skills, even as magicians and prophets.

"To the Pacific islanders, the waters that separate them are also a factor that connects them. Bearing this in mind, the four themes in this section offer a glimpse into the need to hold mastery over the sea for survival—for the fish that sustain the people and for the creation of pathways to connect them. Through extensive interisland trade, the ocean pathways maintain and sustain relationships for political, social, educational, economic, and most of all, spiritual benefits. \nIn “Palauan Knowledge of the Sea,” for example, we see how extensive methods and nuances of fishing and oceanic knowledge are part of both the livelihood and identity of Palauans. Similarly, by examining the Yapese knowledge related to canoes and ocean voyaging, we can see the effects and importance of inherited know-how on the connected lives of Micronesians through the ages and today. In these and all the themes in this section, we see how expressions by custodians of cultural know-how and development of sophisticated navigational systems have allowed Pacific islanders to travel safely and interact with the ocean and each other. Pacific navigation is perhaps one of the most singular human achievements of humanity. "