All aspects of curriculum development at the University of the South Pacific requires intra-regional work especially within and across our 12 member countries. These are Cook Islands, Fiji, Kiribati, Nauru, Niue, Republic of Marshall Islands, Samoa, Solomon Islands, Tokelau, Tonga, Tuvalu and Vanuatu. This engagement includes both the needs assessment and endorsement of new courses and programmes. For the Professional Certificate, the UNESCO Pacific Heritage Hub Steering committee and UNESCO Apia Office were also instrumental in development. The programme design and proposed courses and structure were also presented at the 2016 and 2018 Council of Pacific Arts Meeting and the Pacific Culture Minister’s Meetings held in Guam and Fiji Respectively. We have not thus far leaned into inter-regional cooperation but are exploring the potential for this after the first roll out of the programme to determine what opportunities might exist for inter-regional cooperation and exchange. Dr Frances C Koya Vaka’uta talks about strengthening heritage management capacity in the Pacific Islands. \n\nASSOCIATE PROFESSOR DR. FRANCES C. KOYA VAKA’UTA is Director of the Oceania Center for Arts, Culture and Pacific Studies and the Pacific Heritage Hub, at the University of the South Pacific (USP) in Suva.

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

ICHCAP, in collaboration with UNESCO Bangkok Office, held the Intangible Cultural Heritage Webinar Series from June to August 2020 with a total of four sessions. The 23 speakers from 18 countries met with the public to grapple with alternative practices and emergent modes of delivery in various areas such as heritage education in the universities, networking amongst educational institutions for ICH safeguarding, development of ICH curricula in times of crisis, as well as inter-regional cooperation for cross-cultural instruction and learning.\n\nWhile the entire world is struggling with the impacts of the COVID-19, the ICH sector also has been hit hard by numerous public health measures such as the cancellation of major festivals and events, temporary shutdown of museums, and places of cultural activities, as well as the indefinite halting of formal and informal heritage transmission activities. How can ICH safeguarding and transmission thrive in the midst of an unprecedented pandemic, and what role can higher education institutions play to ensure the viability of living heritage in our times? ICHCAP organized this webinar series to answer these urgent questions that we all face today.\n\nIn the second session on 2 July 2020, the focus was to have a more detailed grasp of cultural heritage education in universities and how relevant academic programs can be conducted with respect to the “new” normal or a set of behaviors we now have to practice to maintain public health safety. \n\nPRESENTATION1 Pedagogy for ICH and the COVID-19 Pandemic by Neel Kamal Chapagain, Professor, Ahmedabad University, India\nPRESENTATION2 Challenges and Opportunities for Teaching ICH as a Core Knowledge Requirement and Practice within Heritage Education by Kristal Buckley, Lecturer, Deakin University, Australia \nPRESENTATION3 Documentary Film and Narrative Techniques for Architecture Students’ Understanding of Local Cultural Heritage by Nikhil Joshi, Senior Lecturer, National University of Singapore\nPRESENTATION4 Cultural Heritage and COVID-19: Digital Technologies to Support New Forms of Resilience by Danilo Pesce, Postdoctoral Fellow, Polytechnic of Turin, Italy\nPRESENTATION5 Inheritance and Innovation of the Intangible Cultural Heritage during the COVID-19\nPandemic by Jin Jiangbo, Professor, Shanghai University, People’s Republic of China

ICHCAP, in collaboration with UNESCO Bangkok Office, held the Intangible Cultural Heritage Webinar Series from June to August 2020 with a total of four sessions. The 23 speakers from 18 countries met with the public to grapple with alternative practices and emergent modes of delivery in various areas such as heritage education in the universities, networking amongst educational institutions for ICH safeguarding, development of ICH curricula in times of crisis, as well as inter-regional cooperation for cross-cultural instruction and learning.\n\nWhile the entire world is struggling with the impacts of the COVID-19, the ICH sector also has been hit hard by numerous public health measures such as the cancellation of major festivals and events, temporary shutdown of museums, and places of cultural activities, as well as the indefinite halting of formal and informal heritage transmission activities. How can ICH safeguarding and transmission thrive in the midst of an unprecedented pandemic, and what role can higher education institutions play to ensure the viability of living heritage in our times? ICHCAP organized this webinar series to answer these urgent questions that we all face today.\n\nIn the first session of the ICH Webinar Series on 18 June 2020, we looked into the state of ICH safeguarding in the region, attending to how it has been conditioned by the pandemic and how various activities have been reshaped in order for them to maintain their purpose while also considering the protocols observed to curb coronavirus transmission.\n\nPresentation1 UNESCO Online Survey Results on Living Heritage Experience and the COVID-19 Pandemic by Juliette Hopkins, Living Heritage Entity, UNESCO\nPresentation2 Reviving the Living Landscape System of Lai Chi Wo for Urban Sustainability by Anna Yau, Project Manager, The University of Hong Kong\nPresentation3 Living Heritage Experiences in the Context of the COVID-19 Pandemic in Singapore by Yeo Kirk Siang, Director, Heritage Research and Assessment, National Heritage Board of Singapore\nPresentation4 Disaster as Opportunity by Christopher Ballard, Professor, The Australian National University, Australia\nPresentation5 Te-er/Tengao: The Significance of the Compulsory ‘Rest’ Day of the Bontoks in Mt. Province in the Context of COVID-19 Pandemic by Eric Zerrudo, Professor, University of Santo Tomas University, Philippines

ICHCAP, in collaboration with UNESCO Bangkok Office, held the Intangible Cultural Heritage Webinar Series from June to August 2020 with a total of four sessions. The 23 speakers from 18 countries met with the public to grapple with alternative practices and emergent modes of delivery in various areas such as heritage education in the universities, networking amongst educational institutions for ICH safeguarding, development of ICH curricula in times of crisis, as well as inter-regional cooperation for cross-cultural instruction and learning.\n\nWhile the entire world is struggling with the impacts of the COVID-19, the ICH sector also has been hit hard by numerous public health measures such as the cancellation of major festivals and events, temporary shutdown of museums, and places of cultural activities, as well as the indefinite halting of formal and informal heritage transmission activities. How can ICH safeguarding and transmission thrive in the midst of an unprecedented pandemic, and what role can higher education institutions play to ensure the viability of living heritage in our times? ICHCAP organized this webinar series to answer these urgent questions that we all face today.\n\nIn the last session of the series on 12 August 2020, education experts from Uganda, Fiji, and Belgium were invited to discuss the development of ICH-related education modules and curricula; different contexts were discussed to show a multidimensional picture of how heritage education curriculum is drafted and implemented.\n\nPresentation1 Inter-regional Field Experiences on Curriculum Development for ICH Safeguarding: Experience from Uganda by Emily Drani, Executive Director, Cross Cultural Foundation of Uganda\nPresentation2 Strengthening Heritage Management Capacity in the Pacific Islands by Dr. Frances C. Koya Vaka’uta, Director, Oceania Centre for Arts, Culture and Pacific Studies, The University of the South Pacific\nPresentation3 From the Blue Book to a Blue Ocean Strategy in Higher Education by Dr. Marc Jacobs, Professor, University of Antwerp

CD8_FOLK SONGS OF THE INDIGENOUS CASTES\n\nThe indigenous castes of Nepal have a variety of cultural events to mark different life happenings, from birth to death, which are all accompanied by music. These events depend on topography, and may vary even within a caste. Generally, people express their emotions through music in occasions such as Dashain , MagheSakranti , Purnima , or seasonal events, such as rice transplanting, rice harvesting, or millet plucking. In such festivals, each of the indigenous castes exhibits its way of life and culture through traditional attires, instruments, songs, and dances.

Katta Ashula (a song performed with a plate) is specific to the Ferghana Valley of Uzbekistan. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, Katta Ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style. Katta Ashula developed from basic traditional events in history, from labour songs, and from different styles of ghazal verses. Usually, Katta Ashula is performed in big gatherings, festivities, and party celebrations.\n\nKatta Ashula songs were performed professionally and further developed by famous Khofizes such as Erkaqori Karimov, Turdiali Ergashev, Matbuva Sattorov, Jo'rakhon Sultonov, Mamurjon Uzoqov, Boltaboy Rajabov, Orif Alimakhsumov, Fattohkhon Mamadaliev, Jo' rakhon Yusupov, and Khamroqulqory To'raqulov. Today, Katta Ashula is masterfully performed by experienced singers with the highest skill, such as Khalima Nosirova, Munojot Yo'lchieva, Ismoil and Isroil Vakhobovs, and Mahmud Tojiboev.

Lapar performing arts, as an ancient folklore genre of people’s creation, has a rich history. Lapar songs are performed by famous artists during holidays, public festivities, and wedding parties as well as in a bride’s house in the evening during ‘Girls’ Evening’, ‘Girls’ Party’, and ‘Lapar Night’. Girls and boys perform Lapar songs composed of four-lined ghazals in two groups. Through Lapar songs, girls and boys express their love for each other, make decisions, and take oaths. They sing their heart’s grief with a certain melody but without any music. If both the girl and the boy who are singing Lapar fall in love with each other, they present gifts to one another. If the boys present flowers to girls, the girls present a kerchief, belt-kerchief, handkerchief, perfume, or some other gift.\n\nLapar songs are mainly composed of four-lined verses and are performed in the form of a dialogue between two parties. If they resemble o'lan songs from these features, they are distinguished by the ideas, literary references, descriptive objects, and the lifestyle that are sung in the lyrics- the level of thought is more highly developed by images. \n\nLapar songs were performed and became increasingly better known through the work of famous Lapar singers, such as Lutfikhonim Sarimsoqova, Tamarakhonim, Lizakhonim Petrosova, Gavkhar Rakhimova, Oykhon Yoqubova, Guishan Otaboyeva, To'khtakhon Nazarova, Qunduzkhon Egamberdiyeva, and others. To pay more attention to Lapar and o'lan songs, to collect them, to support the performers, and to publicise their creative work to the broader community, the Traditional Republican Festival of Lapar and O'lan performers is regularly conducted by the Republican Scientific and Methodological Center of Folk Art under the Ministry of Culture and Sports of the Republic of Uzbekistan.\n\n\n\n

O`lan is a genre of people's oral creation. Mainly, it is performed by women with or without doira accompaniment. At Uzbek parties and celebrations, the O`lan is sung by a girls' team on one side and a boys' team on the other side, or it is sung by two people who take opposing sides so they can perform as though they are having a dialogue.\n\nYor-yor is a folk song performed at a wedding celebration when the bride is seen off. In ancient times, it was widespread among Uzbek, Tajik, Uygur, and Turkmen people. Yor-yor consists of two or four lines; at the end or in the middle of each line are the words 'yor-yor, aylanaman' (my beloved one, I am enchanted). Usually, yor-yor is accompanied by doira music performed by women. The high effect of yor-yor is that it simultaneously harmonises sadness with a merry melody, tone, and the mood of holiday joys. In yor-yor songs, the bride's features, wishes, cherished dreams, and congratulations to her are praised. \n\nThe Republican Scientific and Methodological Center of Folk Art under the Ministry of Culture and Sports of the Republic of Uzbekistan, in cooperation with the National Commission of the Republic of Uzbekistan for UNESCO, organised an expedition to Ferghana Valley to research and classify intangible cultural heritage samples as well as to inventory and define the bearers of this heritage. The expedition team recorded samples of O'lan songs from ICH bearers and transmitters of intangible cultural heritage, including Xayrullo Mirzayev, Hanifa Mirzayeva, Inoyat Rafiqova, Makhbuba Yo'ldosheva, Baxtiyor Turg'unov, Zebikhon Abdunazarova, Ko'paysin Oqboyeva, and Qo'zikhon Siddiqova.

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.

Audio and Video Materials Collected from the Onsite Survey in the Ferghana Valley_2012 Uzbekistan-ICHCAP Joint Cooperation Project of Producing Digital Contents on ICH\n\nThe glorious intangible cultural heritage (ICH) of Ferghana Valley encompassing the state of Ferghana, Andijion, and Namangan in Uzbekistan includes oral traditional, performing arts, traditional rites and festive events, and traditional crafts. However, this heritage is largely unknown to the public in the nation and abroad, and it is fading out even more rapidly due to the young generation’s lack of interest.\n\nSince 2011, the four Central Asian countries, including Uzbekistan, have been implementing a three-year project, Facilitating ICH Inventory-Making by Using Online Tools for ICH Safeguarding in the Central Asian Region as a Central Asia–ICHCAP cooperative project. In the framework of the project, the countries have collected ICH information and tried to build an online system for managing the collected information.\n\nIn Uzbekistan, the Republican Scientific and Methodological Centre of Folk Art, under the Ministry of Culture and Sports of the Republic of Uzbekistan, in collaboration with the National Commission of the Republic of Uzbekistan for UNESCO, implemented the three-year project. They collected information on ICH elements in the Ferghana Valley (Andijan, Namangan, and Ferghana regions), Zarafshan Oasis and Southern Uzbekistan (Jizzakh, Samarkand, Kashkadarya, and Surkhandarya regions), and the Republic of Karakalpakstan (Navoi, Bukhara, and Khoresm regions) through onsite surveys from 2012 to 2014.\n\nIn 2012 when the first onsite survey was concluded, Uzbekistan and ICHCAP selected representative materials among collected videos, audios, and photos on ICH elements and ICH bearers, and compiled the materials as a ten-CD/DVD collection. Also, booklets in English, Uzbek, and Korean were made to spread related information to a wider audience.\n\nFerghana Valley is also home to Tajikistan, Uighers, and Turkistan. In the other words, different traditions co-exist in the same place. ‘Katta Ashula’, which integrates arts, songs, music, and epics, is one Uzbek cultural heritage representing the identities of the diverse people live in the valley\n\nThe collection could preserve the disappeared and disconnected ICH and encourage increased mutual understanding and communication by spreading the information widely from the experts to the people.

The early history of the Nagas is shrouded in obscurity and many theories abound of their origin  and  migration.  How  and  when  they  came  to  settle  in  the  north‐eastern  region  of India is an unsettled question. \nSeveral  traditions  exist  within  the  multi‐ethnic  Naga  communities  on  their  origins. \nAccording to the oral traditions passed down through songs, folklore and word of mouth the Ao emerged from six stones at Long‐terok, which exists to this day near Chungliyimti, the first legendry settlement of the Ao. ‘Long’ meaning stone and ‘Terok’ six, refers to the six stones from which emerged three pairs of male and female progenitors whom the Ao claim  to  be  their  ancestors.  The  Ao  is  distinguished  with  two  phratries  –Chongli  and Mongsen. The Chongli claim  that the  three males and  females who emerged at Longtrok were Tongpok and his sister Lendina, Longpok with his sister Yongmenala and Longjakrep with  his  sister  Elongshe.  They  were  the  first  human  beings  who  emerged  at  Longtrok. \nEach  male  member  along  with  his  sister  formed  the  three  phratries  of  the  Chongli. \nTongpok founded the Imsong‐Pongen clan, Longpok the Longkumer clan and Longjakrep with  his  sister  founded  the  Jamir  clan  respectively.  The  three  siblings  intermarried  and through  these  marriages,  the  Ao  clans  came  into  existence  and  a  well‐  knitted  clan exogamy marriage evolved that is followed to this day. 

When we were young, we were told a lot of stories. Everyone hated the big, vicious, evil, and cunning animals. However, seen through grown-up eyes, there are no bad animals in the world. Animals personified in stories convey a message to the human world-that of peace and harmony. At a time when a message of peace is desperately needed, let’s enjoy some stories featuring various animals, from tigers to birds, rabbits, monkeys, and more.

ICHCAP hosted an international seminar, ‘ICH Pedagogy: Status and Challenges in the Asia-Pacific Region in Reference to UNESCO’s Overall Results Framework,’ at the National Museum of Korea, Seoul, on 10 May, in cooperation with the Asia-Pacific Education Network for Safeguarding Intangible Cultural Heritage (APHEN-ICH), UNESCO Bangkok Office, and Korea National University of Cultural Heritage (KNUCH) and with support from the Cultural Heritage Administration of Korea.

제목\n(English) Silk Roads ICH Survey Report – Festivals\n(Korean) 실크로드 무형유산 설문조사 보고서 – 축제\n(Russian) Доклад по исследованию нематериального культурного наследия Шелкового пути – фестивали\n\n언어: 한국어, 영어, 러시아어\n\n이 보고서는 실크로드 지역의 무형유산 축제에 관한 현황을 살펴보고 정보공유 및 가시성을 높이기 위한 시도로서, 한국을 포함한 실크로드 관련 국가들의 정부와 문화기관을 대상으로 시행하였으며, 2021년 총 9개국에서 접수한 347개의 유효응답을 통계 분석하여 수록하였다.