The culture of the Central Asian steppes expresses itself vividly in the lifestyle of traditional nomadic practices. Mongolian culture has been in practice in the nomadic life and the traditions surrounding the nomad’s home (ger). And it is present in religious celebrations, national festivals, art and crafts, music and dance, language and literature, which form the backbone of Mongolian intangible cultural heritage of Mongolia. Mongolia is filled with valuable cultural properties and intangible cultural heritage of humanity that have been kept or practiced for thousands of years.\n\nGer, Mongolian Traditional Dwelling\nThe traditional architecture of the Mongols differed strongly from that of the settled peoples of Asia and other continents. Centuries ago, there the ger, also known as a yurt, appeared. It still offers shelter to nomads in particular places in Central Asia. Its development and fundamental principles are determined by the specific features of the way of life of Mongol tribes, which made it necessary to evolve a light and collapsible structure to be used as a dwelling or for public functions.\n\nMongolian Language and Literature\nMongolian is the language of most of the Mongolian population and inner Mongolia. By origin, Mongolian is one of the Altaic family of languages, and the history of the Mongolian language is long and complicated. Significant literary work of early Mongolia includes The Secret History of the Mongols, which was published in 1228).\n\nMongolian Religion and Beliefs\nThe Mongols have practiced several religions, of which Shamanism and Buddhism were the most common. The faith in Mongolia is Buddhism, though the state and religion were separated during the socialist period, but with the transition to the parliamentary republic in the 1990s, there has been a general revival of faiths across the country\n\nMongolian Art and Crafts\nMongolian arts and crafts have been passed down across generations from the Paleolithic times to today, leaving behind deep impressions on all facets of life and conscious, aesthetic, and philosophical thinking. Highly developed Mongolian arts and crafts come from the second millennium BCE. The works included sculptured heads of wild animals with exaggerated features. Other items include knives, daggers, and other items of practical and religious use.\n\nMongolian Music and Dance\nMusic is an integral part of Mongolian culture. Among Mongolia’s unique contributions to the world’s musical culture are the long songs, overtone singing, and morin khuur (the horse-headed fiddle). The music of Mongolia is also rich with varieties related to the various ethnic groups of the country. Among the most popular forms of modern music in Mongolia are Western pop and rock genres and the mass songs written by contemporary authors in the form of folk songs.\n\nHorse Culture of Mongolia\nIt is famously known that horses play a large role in the Mongols’ daily and national lives. Common sayings are, “A Mongol without a horse is like a bird without wings,” and “Mongols are born on horseback” these are arguably true words. Even today, horse-based culture is still practiced by nomadic Mongolians.\n\nVisit https://www.toursmongolia.com/tours for additional information about Mongolian culture.\n\nPhoto 1 : Prairie meadow grass inner Mongolia traditional clothing © Batzaya Choijiljav\nPhoto 2~7 : © Batzaya Choijiljav

The Gangneung Danoje Festival has maintained typical elements of ancient festivals that were held in May (seedtime) and in October (harvest time) during the Samhan period (around 300 CE). In the fifth lunar month, which includes Dano day, local people perform rituals for driving away evil spirits and welcoming the fortune and participate in traditional games and activities. The main deities of the festival are the mountain god, Kim Yusin, who was the general of Shilla and the United Three Kingdoms, and the royal tutor tutelary deity, Beomil, who was a Shilla monk. The first documented record of Dano folklore appears in the Samguksagi (A History of the Three Kingdoms). Other records indicate that Dano has commonly been referred to as ‘Suri’ in local dialects.

The gender diversity expressed in intangible cultural heritage (ICH) should be seen as a part of the cultural diversity now celebrated as a human rights value and should therefore be protected as such. However, this is not a simple matter since, as we know, some traditional cultural practices are incompatible with the fundamental human rights principles of equality and non-discrimination. Indeed, the question of how the requirements of gender equality can be met within the framework of UNESCO’s 2003 Convention for the Safeguarding of the Intangible Cultural Heritage raises some important and extremely complex issues. At the core of these rests an apparent contradiction between the human rights concept of gender equality and the multiple ways in which gender is expressed in ICH and understood by bearer communities. Since, as stated in its preamble, the 2003 Convention is explicitly placed within the broader context of human rights, this is not simply a theoretical question; any heritage recognized and safeguarded under that treaty should be compatible with human rights requirements, of which equality on the basis of sex (among other bases) is a central one. This presents important challenges to governments, the international community, and other actors interested in identifying ICH for the purposes of safeguarding; although more leeway may be possible for national safeguarding of ICH, a relatively strict test of gender equality and non-discrimination needs to be applied for the international aspects of the Convention (international inscriptions and assistance, in particular).

When it comes to the preservation of intangible cultural heritage (ICH), threats that lead to the loss of the viability of one or another element of ICH are latently implied. From a social anthropological point of view, this is a question of the interaction between tradition and innovation: do new technologies always negatively affect traditional art? How does modern everyday life affect the sustainability of a traditional view of the world that underlies the identity of each element of ICH?\n

"The Convention for the Safeguarding of the Intangible Cultural Heritage (‘ICH Convention’ or ‘Convention’ hereafter) was adopted in 2003 and subsequently brought into force in 2006. The ICH Convention mandates signatories to use or mobilise various measures to safeguard intangible cultural heritage. \nEven though the Convention does not succinctly mention the elaborate legal measures for safeguarding intangible cultural heritage, the intellectual property rights to protect intangible cultural heritage and its holders are implied throughout provisions of the Convention. To implement the Convention’s spirit, the Operational Directives clarify legal form as safeguarding measures by stating that: State Parties shall endeavor to ensure, in particular through the application of intellectual property rights, privacy rights and any other appropriate form of legal protection, that the rights of the communities, groups, and individuals that create, bear and transmit their intangible cultural heritage are duly protected…."

Law and Legal Documents on ICH \n\nLaw on Cultural Heritage indicates clearly that the cultural heritage in Vietnam is the valuable property of all ethnic groups of Vietnam and has its significant role in the sustainable development of the country. \nIn compatible with the 2003 Convention Vietnam rectified in 2005, the Law on Cultural heritage (2001) amended in 2009 with some articles on the identification of ICH, management, its safeguarding measures and designation of the master practitioners. The Article 1 on the identification of ICH states that “ICH is the spiritual product that is attached to the communities or individuals, relevant to tangible culture and cultural space. It expresses the cultural identity of communities, and has been continuously recreated and transmitted from generation to generation orally, through apprentices, performances and other modes of transmission."\n

Dondang Sayang is a Malay traditional music and song that is well-known in the State of Malacca and still practised by four communities such as the Malay, Baba Nyonya, Chitty and Portuguese. The performances are accompanied by violin, rebana, gong and accordion and sing by two singers of the opposite sex, who sing in quatrains. It has received UNESCO’s recognition as a Representative List of The Intangible Cultural Heritage of Humanity on 29th November 2018.

Intangible cultural heritage is one of the most unprotected forms of artistic heritage. Nowadays, in the globalization environment where different cultures exist and interact, intangible cultural heritage requires our special attention. For Tajikistan, the first victory of efforts put forth toward safeguarding ICH was the acknowledgement of Shashmaqom as a masterpiece of human intangible cultural heritage by UNESCO.

An inventory generally refers to a comprehensive list of tangible items, such as property, goods on hand, contents in an area. So within this idea, one must wonder whether it is possible in the field of culture to inventory each item.

Kazakhstan is characterized by ethnic, religious, and cultural diversity. However, the nation has not always had such a multiethnic composition. In the 1920s, Kazakhstan was a republic of the USSR and was mainly monoethnic. The Stalinist leadership aimed at eradicating social classes. To reach this goal, terror and intimidation were employed, targeting mostly members of the clergy, opposition leaders, intellectuals, artists, and former tsarist-government officials. Starting in 1934, political repression was particularly strong. Millions of Soviet citizens were exiled to the Urals, Siberia, and Kazakhstan. Opponents to the Bolsheviks from all over the USSR were held prisoner in concentration camps located in Kazakhstan.

The Institute of Papua New Guinea Studies (IPNGS) was established under the Cultural Development Act, passed by the Papua New Guinea House of Assembly on 14 October 1974. Papua New Guinea had become self-governing from Australia almost a year earlier, but independence was still about another year in the future. Today IPNGS is a national cultural institution under the National Cultural Commission Act. It moved to its present location towards the end of 1976. The distinctive welded sculptures on the outside walls and gates depict the Orokolo story of Aru Aru and his journey to the moon, as told by Sir Albert Maori Kiki.

I’ve been asked to speak about regional collaboration for safeguarding intangible cultural heritage in South-East Asia, but I will be focusing more on safeguarding as it relates to the 2003 Convention, particularly on processes for ratification, inventory making, and legislative measures that have or have not been taken. It is important to know that there is a broader sense in which safeguarding happens at its best when UNESCO is not needed by which I mean it is happening in the communities, and there is no need for international conventions, laws, and national measures. That is the ideal situation. Unfortunately, that is not the situation of the world today. That is why we have the 2003 Convention, and that is why these measures are being put into place. I am going to try to focus on that.