This instrument is made of the thin bamboo. That bamboo from remote hilly regions is cut as required and bored holes. There are 20 bamboos in the instruments. Since 18 A.D , this instrument has been preserved and handed down from generation to generation as a traditional heritage. This instrument played at the traditional duet dance. It was played at the Kayans’ traditional festival.\n-76 cm in the length of the longest bamboo\n-56.2 cm in the length of six bamboos at the middle of the flutes\n-49 cm in the length of the 7th bamboo\n-42.1 cm in the length of the 8th bamboo \n-36 cm in the length of the 9th bamboo\n-31 cm in the length of the 10th bamboo\n-27 cm in the length of the 11th bamboo\n-25 cm in the length of the 12th bamboo\n-22.5 cm in the length of the 13th bamboo\n-22.5 cm in the length of the 14th bamboo \n-30.5 cm in the length of the 15th bamboo\n-30.8 cm in the length of the 16th,17th,18th,19th and 20th Bamboos

Six bamboos poles are fitted on the dry gourd. Three bamboo pipes are fitted at the top of the dried gourd. Each of the dried gourd are fitted only two bamboos . Each of the bamboos is bored with holes. Three bamboo pipes are fitted below dried gourd and at the top of these bamboo is fitted with a dried gourd and a bamboo joint. Another one bamboo pipe is not fitted. Dried gourd and bamboos are glued with beeswax. According to the song, it has to be blown the air at the top of dried gourd and pressed the holes of the small bamboo pipes to produce song.\nDried Gourd\n-1 feet 2 inches in length\n-1 feet 7 inches in girth\nUpper Three bamboos\n-1 feet 2 inches in length\n-1 feet in length\n-3 feet 7 inches in length\nFrom bamboo ( 2 ) to dried gourd\n-2 feet 7 inches in length\n-3 inches in girth\nFrom bamboo ( 3 ) to bamboo joint\n-6.5 inches in length\n-1 feet 11 inches in girth\nLower three bamboos\n-1 feet 9.5 inches in length\n-1 feet 10.5 inches in length\n-2 feet 4.5 inches in length From top of\nbamboo ( 2 ) to Dried gourd\n-3 inches in length\n-7 inches in girth\nFrom top of bamboo ( 3 ) to Dried gourd\n-5 inches in length\n-5 inches in girth\n-3 feet 3.5 inches in length of the dried gourd instrument\n-1 feet 2.5 inches in height of the dried gourd instrument

Six bamboos poles are fitted on the dry gourd. Three bamboo pipes are fitted at the top of the dried gourd. Each of the dried gourd are fitted only two bamboos . Each of the bamboos is bored with holes. Tree bamboo pipes are fitted below dried gourd and at the top of these bamboo is fitted with a dried gourd and a bamboo joint. Another one bamboo pipe is not fitted. Dried gourd and bamboos are glued with beeswax. According to the song, it has to be blown the air at the top of dried gourd and pressed the holes of the small bamboo pipes to produce song.\nDried Gourd\n-1 feet 2 inches in length\n-1 feet 8 inches in girth\nUpper Three bamboos\n-1 feet 1.5 inches in length\n-1 feet 2.5 inches in length\n-1 feet 9.5 inches in length\nFrom bamboo ( 2 ) to bamboo joint\n-3.5 inches in length\n-3 inches in girth\nFrom bamboo ( 3 ) to dried gourd\n-3.5 inches in length\n-9 inches in girth\nLower three bamboos\n-9.5 inches in length\n-11 inches in length\n-1 feet 2 inches in length\nFrom top of bamboo ( 2 ) to Dried gourd\n-2 inches in length\n-3 inches in girth\nFrom top of bamboo ( 3 ) to Dried gourd\n-3.5 inches in length\n-9 inches in girth\n-1 feet 9 inches in length of the dried gourd instrument\n-1 feet 2 inches in height of the dried gourd instrument

Six bamboos poles are fitted on the dry gourd. Three bamboo pipes are fitted at the top of the dried gourd. Each of the dried gourd are fitted only two bamboos . Each of the bamboos is bored with holes. Three bamboo pipes are fitted below dried gourd and at the top of these bamboo is fitted with a dried gourd and a bamboo joint. Another one bamboo pipe is not fitted. Dried gourd and bamboos are glued with beeswax. According to the song, it has to be blown the air at the top of dried gourd and pressed the holes of the small bamboo pipes to produce song.\nDried Gourd\n-1 feet 2 inches in length\n-1 feet 7 inches in girth\nUpper Three bamboos\n-1 feet 2 inches in length\n-1 feet in length\n-3 feet 7 inches in length\nFrom bamboo ( 2 ) to dried gourd\n-2 feet 7 inches in length\n-3 inches in girth\nFrom bamboo ( 3 ) to bamboo joint\n-6.5 inches in length\n-1 feet 11 inches in girth\nLower three bamboos\n-1 feet 9.5 inches in length\n-1 feet 10.5 inches in length\n-2 feet 4.5 inches in length From top of\nbamboo ( 2 ) to Dried gourd\n-3 inches in length\n-7 inches in girth\nFrom top of bamboo ( 3 ) to Dried gourd\n-5 inches in length\n-5 inches in girth\n-3 feet 3.5 inches in length of the dried gourd instrument\n-1 feet 2.5 inches in height of the dried gourd instrument

Six bamboos poles are fitted on the dry gourd. Three bamboo pipes are fitted at the top of the dried gourd. Each of the dried gourd are fitted only two bamboos . Each of the bamboos is bored with holes. Tree bamboo pipes are fitted below dried gourd and at the top of these bamboo is fitted with a dried gourd and a bamboo joint. Another one bamboo pipe is not fitted. Dried gourd and bamboos are glued with beeswax. According to the song, it has to be blown the air at the top of dried gourd and pressed the holes of the small bamboo pipes to produce song.\nDried Gourd\n-1 feet 2 inches in length\n-1 feet 8 inches in girth\nUpper Three bamboos\n-1 feet 1.5 inches in length\n-1 feet 2.5 inches in length\n-1 feet 9.5 inches in length\nFrom bamboo ( 2 ) to bamboo joint\n-3.5 inches in length\n-3 inches in girth\nFrom bamboo ( 3 ) to dried gourd\n-3.5 inches in length\n-9 inches in girth\nLower three bamboos\n-9.5 inches in length\n-11 inches in length\n-1 feet 2 inches in length\nFrom top of bamboo ( 2 ) to Dried gourd\n-2 inches in length\n-3 inches in girth\nFrom top of bamboo ( 3 ) to Dried gourd\n-3.5 inches in length\n-9 inches in girth\n-1 feet 9 inches in length of the dried gourd instrument\n-1 feet 2 inches in height of the dried gourd instrument

It is a wind instrument which is made of bamboo and horns of mython. A bamboo is cut into four different sizes and they are joined one after another small to large and the top of bamboo pipes are inserted into mython horn. It has to be blown at the top of bamboo pipe to produce song. Tone color is like as Trumpet.\nFirst bamboo joint\n-5.5 inches in length\n-2 inches in width\nSecond bamboo joint\n-10.5 inches in length\n-2.5 inches in width\nThird bamboo joint\n-8.5 inches in length (In this portion, two cleft – bamboo sticks are joined.)\n-3 inches in width\nFourth bamboo joint\n-2 feet in length\n-4 inches in width\nMython horn\n-6.5 inches in length\n-9 inches in width

This instrument is made of bamboo. That bamboo can be got from a long distance. The bamboo is cut as needed and bored holes. It is learnt that a bamboo is cut only for getting one flute. Now, it is very difficult to get long bamboo and so they use water pipe. This instrument which is Bass instrument, can be played together with Kayans’ traditional instruments on the occasions of the wedding, funeral and funfairs. Since yore, this oboe flute has been preserved and handed down from generation to generation as a traditional heritage. There is no exact record in what year and era it appeared.\n-167.3 cm in the length of the flute\n-4 cm in the circumference of the flute

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.

According to statistics data in 2009, the Cao Lan people (known as Sán Chay) in Vietnam had a population of 169,410 people, residing mostly in Tuyên Quang province. The Cao Lan ethnic minority has a treasure of poetry, folk music, and dance such as sình ca (unique folk singing), múa trống (drum dancing), múa xúc tép (small shrimp catching dancing), múa chim gâu (cuckoo bird dancing), etc. The musical instruments of Cao Lan people are various, including thanh la (small knobless gong), não bạt (small cymbals), drums, bells, and wind instruments. Kèn is a wind instrument performed in festivals and ritual forms. Kèn consists of four parts: the body, the bell, reed stake, and the reed. The body is a cylindrical hollow tube made of hard wood about thirty centimeters in length. On the body, there are seven pressing holes on the front and one hole on back near the stake. The instrument bell is made of a frustum-shaped thin wooden piece. The smaller of the bell is attached to the big end of the tube. The stake is attached to the small end of the tube. The reed is made of a reed pipe or worn nest attached to the stake. Its sound is strong, a little discordant at high pitches and a little cracked at the low end. The register of the instrument is two octaves. Kèn is played by men only. This track is a medley of extractions that are often played in the rituals, such as hành quân (army operation), kèn Khắp, and đưa Phật (Buddha greeting).

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.

Benedictions\n\nMongolian well-wishing is a powerful expression of the miraculous capacity of words. It is one of the genres of Mongolian oral poetry that uses melodies. Briefly, benedictions (well-wishing) propitiate people’s future happiness and well-being through skilfully composed and recited poems. There are thousands of benedictions on various subjects. For instance there are benedictions recited while beating the sweat cloth of a saddle, while distilling milk vodka, while celebrating a birth, and while cutting an infant’s hair for the first time. Besides ancient benedictions, many contemporary benedictions are being kept at the ILL. These include benedictions for a new ger, weddings, a child’s first haircut, endowment practices, mare-milking ceremonies, foal-branding ceremonies, the People’s Revolution, and others for the military.

Folk Short Songs\n\nMongolian folk songs are divided in three different categories, such as long songs, short songs and the authors’ songs. Folk songs are shorter than other forms of expressions with average durations of one to five minutes, but there is a high volume of them. Thus, restoring, categorising, and digitising folk songs were the most time-consuming tasks compared to others. Within the framework of the project, just under forty-eight hours of songs were restored and digitised.

Tales & Legends\n\nTales are an important genre of the oral prose literature of the Mongolians. Tales typically begin with the phrase “Once upon a time, in such-and-such a place, in such-and-such a country.” Mongolian tales are symbolic. The most frequent ending is “and they lived happily ever after.” The legends are a popular genre of oral prose literature. The real-life legends are always complimentary expressions of historical events within folk literature. Historical facts are usually adorned with fanciful magic and metaphoric devices to later become historical legends. Among the restored and digitised data, the tales take up the most recording hours. Within the framework of the project, over two hundred hours of tales and almost fourteen hours of legends were restored and digitised.

Folk Long Songs\n\nMongolian folk songs are divided in three different categories, such as long songs, short songs and the authors’ songs. Folk songs are shorter than other forms of expressions with average durations of one to five minutes, but there is a high volume of them. Thus, restoring, categorising, and digitising folk songs were the most time-consuming tasks compared to others. Within the framework of the project, just under forty-eight hours of songs were restored and digitised.

Sounds that Run in the Vast Grasslands of Mongolia_Oral Traditions and Performing Arts in Mongolia\n\nSince the early 1950s, the Institute of Language and Literature at the Academy of Science (ILL) has been sending survey teams one to three times a year to research and gather data on oral literature and local dialectics. These activities set the groundwork for officially establishing a new archive with written documents and magnetic audio tapes that could be used for research purposes and be maintained. Preserved on magnetic tapes are languages and dialects that have gone extinct, have lost their distinctiveness, or have been adsorbed into other languages or dialects.\n\nHowever, most of the magnetic tapes being kept at the ILL are more than sixty years old, and the expiration date on many tapes has already lapsed. Also, improper storage conditions have caused some tapes to dry out, cling to one another, or fracture. For these reason, it would be hard to transmit to the next generation. Accordingly, since 2008, efforts have been made towards restoring and digitizing superannuated magnetic tapes within the internal capability and capacity of the ILL. The lack of training, finance, and proper tools and technical equipment has, nevertheless, created several obstacles and the digitizing results have not been very successful.\n\nAt this crucial state, the ILL introduced a cooperative request to the Foundation for the Protection of Natural and Cultural Heritage (FPNCH), and the FPNCH proposed that ICHCAP continue the joint project and take measures for restoring and digitizing superannuated magnetic tapes and distributing and disseminating the data among the general public. According to the above decision, the FPNCH and ICHCAP implemented the Joint Cooperation Project of Safeguarding Intangible Cultural Heritage by Using Information Technology from October 2011 to April 2012.\n\nAs the first stage of the project, the Expert Meeting for Safeguarding ICH by Using Information Technology was held in the Republic of Korea to exchange information with experts for digitizing and restoring the analogue data. The experts of Mongolian National Public Radio, the ILL, and the FPNCH started the project after sharing restoration and digitization knowledge with the Munhwa Broadcasting Corporation (MBC) of Korea, the National Archives of Korea, and the Korea Film Council.\n\nAs the main outcome of the project, a total of 715 hours of superannuated magnetic tapes including epics, folk tales, tales accompanied by the morin khuur, traditional arts, khuumei, chor, long and short folksongs, and traditional customs were restored, digitized, and categorized. Among them, 128 audio clips were selected and reproduced in a ten-CD collection called Sounds from the Mongolian Grasslands. The collection also includes a twenty-page handbook in English or Korean. Through this project, the general public’s, involved organizations’, and domestic and international experts’ awareness about Mongolian ICH increased, and the archive and music contents of regional ICH were strengthened.

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 25 is 'Pictures and Storytelling.'

Communities in the Asia-Pacific region greet the New Year at different times depending on region and religion. Communities celebrate a new beginning with traditional songs and dances. This volume introduces traditional performing arts to celebrate the beginning of the New Year in Japan, Nepal, Micronesia, and Myanmar.

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 9 is 'ICH AND CIRCLE DANCES.'

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.