Cultural heritage is not limited to archaeological sites, monuments, and collections of objects. It includes tradi- tions or living expressions inherited from our ancestors and passed on to our descendants, such as ceremonies, rituals, performing arts, beliefs about the world, and enactment prac- tices. While these expressions may not be tangible, they are a continuously evolving form of living tradition, recreated and adapted in response to the environment around us. They provide us with a sense of identity, a feeling of belonging, and an inclusive, representative, collective way of expressing culture.

Singapore is a culturally diverse society and one of the most religiously diverse nations of the world, and the understanding of cultural practices aids in fostering dialogue and social cohesion in such a social context. This paper discusses the important role of intangible cultural heritage (ICH) in fostering a deeper appreciation of the commonalities and differences among people, particularly in an era where societies around the world are facing complex effects of social diversity, movements of people and the effects of globalisation. It highlights the efforts to safeguard ICH in Singapore through partnerships between government agencies, educational institutions and the community.

Ikat making in Uzbekistan is an ancient type of applied art. The history of Ikat atlas and adras making technologies in the territory of Uzbekistan dates to the late antique period. Historically, Margilan, as the heart of the Fergana Valley, was the birthplace of advanced silk craftsmanship of Central Asia and the center for making atlas and adras—vivid and fine traditional fabrics.

The 2019 Sub-Regional Meeting for Intangible Cultural Heritage Safeguarding in South Asia: ICH in Education: Towards Joint Collaboration for Promoting ICH in Formal and Non-Formal Education jointly organized by ICHCAP and UNESCO Dhaka Office, was held from 24 to 26 June 2019 in Dhaka, Bangladesh.\n\nThis report is composed of nineteen presentation papers delivered at the meeting by national representatives, NGOs, and UNESCO Offices in Bangkok and Dhaka. In addition, the outcome document of the meeting is also affixed to put it on record the adopted recommendations of the participants in moving forward together.

Information is considered a safeguarding measure in the 2003 UNESCO Convention. The word ‘information’ is found several times in the text of the 2003 Convention. States Parties are required to provide information regarding programmes of inventory of ICH in their territories1. States Parties to the Convention are required to endeavour, by all appropriate means, to ‘ensure recognition of, respect for, and enhancement of the intangible cultural heritage in society, in particular through: …educational, awareness-raising and information programmes, aimed at the general public, in particular young people’.2 Educational, information, and awareness-raising programmes are herein identified as tools for ensuring the recognition of, respect for, and enhancement of ICH in society to be directed towards the general public, in particularly young people. That the younger generation be able to access information on ICH is essential to ensure ICH transmission for the ongoing safeguarding of ICH. This reference highlights the relation between information programmes and awareness-raising and educational programmes. Obviously awareness raising or educational programmes cannot be carried out without materials based on appropriate information on ICH.

Traditional Indonesian batik was listed by UNESCO as an Intangible Cultural Heritage of Humanity on 2 October 2009. The unique and exquisite designs created by the artistic minds of citizens centuries ago, express their reverence to life and nature by painting cloth with symbols and characters bearing the philosophies of life.

Khon is a Thai dance drama presenting a Ramayana epic. Each dancer wears a head mask to depict a particular character of the play. Ramayana is the war between Pra Ram (the exile prince of Ayothaya) and Totsakan (the demon king of Longka who abducted Sida, the wife of the prince). Pra Ram, with the help of the monkey troops led by Hanuman, wins the war and returns to Ayothaya with Sida. This lengthy play is divided into a number of episodes, each of which depicts a different battle scene. These episodes are of two types. First is the war play which comprises

Today, it is generally acknowledged that indigenous culture and knowledge around the world is under threat by globalization, rights infringement and violation, and other effects of modernization, including the general lack of respect for traditional culture and the individuals or communities through which that culture is manifested.

During the Khmer Rouge regime, 90 percent of Cambodia’s artists were killed; centuries of artistic traditions, passed through generations were in danger of being lost. In 1998, Cambodian Living Arts (CLA) began working in the country with a mission to revive and develop traditional arts. Today, our aims have broadened—CLA operates as a cultural agency supporting the development of the arts sector, from education, to policy, cultural exchange, and festivals. We have two centers, one in Phnom Penh, from which we operate national programs and have a strong focus on leadership and creativity. Our second center is in Siem Reap, and we position this as the Heritage Hub.

Sevalanka Foundation of Sri Lanka was established in 1992 and eventually developed a large network in the country. Its mission is to enhance the capacity of rural communities to democratically identify and address their development needs and provide services that contribute to economically viable, socially just, and ecologically sustainable development of Sri Lanka. The Foundation has a ‘community development’ approach to poverty alleviation and economic improvement. The program areas cover Organizational Development, Disaster Management, and Livelihood Generation. Sevalanka works with youths, diversified communities and religious/ community leaders, helping build a network to bring about a joint effort for peace in their communities and socio-economic improvement of the people. They are supporting communities in preserving their traditional livelihoods by providing training, credit facilities, value addition, and market linkage.

Abstract: In this paper, the author discusses a diversity-focused approach to musical instruments, using Japanese traditional instruments as an example. In Japan, there are safeguarding systems in place to protect not only the performing arts and its performers, but also the techniques used for making musical instruments, instrument makers. . Simultaneously, there are many musical instruments of the same historical origin throughout Asia. Approaching the musical instruments in a new framework – one which includes the performers and instrument makers – adds new perspectives such as the natural environment, traditional knowledge, and methods for accommodating the conditions specified for each era. If we apply this perspective to Asian musical instruments, we may be able to discover new stories of diversity that connect musical instruments.

By applying an evidence-based approach, this paper seeks to share the case of the multinational inscription of Ong Chun Ceremony nominated by China and Malaysia through a fourfold “storyline” to sketch out how the joint action was initiated, developed, and finalized from the pre- to the post-nomination phases. It tries to provide a reflective narrative-interpretation of the community-driven nomination on vision, methodology, and pathway that helped to conceive targeted goals for sustainable effectiveness of joint safeguarding of ICH, including recent community interaction in response to the COVID-19 pandemic, alongside a discussion on the way forward to synergistic cooperation across the East Asian sub-region.