Boria is a theatrical performance that is rather popular at the Northern region of Peninsular Malaysia, especially at Penang Island. It has a combination of comedic sketch, song and dance segments and often feature popular songs rhythm such as twist, agogo, Hindi pop songs, pop and others. The performance often starts with the solo performance of tukang karang (storyteller), who shall sing and dance with a walking cane. The storyteller will be joined by a group of dancers—who are usually dressed up as sailors—and sing the song with dance movement in any group. Lyrics are carefully curated with comedy elements. The musical instruments used for Boria are violin, gambus, marwas, cymbal, gendang, accordion, harmonica and guitar. The props used include oil lamp, flag, keris, umbrella, manggar flower and walking cane.

Boria is a theatrical performance that is rather popular at the Northern region ofnPeninsular Malaysia, especially at Penang Island. It has a combination of comedicnsketch, song and dance segments and often feature popular songs rhythm such asntwist, agogo, Hindi pop songs, pop and others. The performance often starts withnthe solo performance of tukang karang (storyteller), who shall sing and dancenwith a walking cane. The storyteller will be joined by a group of dancers—whonare usually dressed up as sailors—and sing the song with dance movement in angroup. Lyrics are carefully curated with comedy elements. The musicalninstruments used for Boria are violin, gambus, marwas, cymbal, gendang,naccordion, harmonica and guitar. The props used include oil lamp, flag, kris,numbrella, manggar flower and walking cane.

The Tita dance (踢踏舞) is a form of mass dance performed for entertainment, passed down in various regions inhabited by the Zang people. It is very lively and fast paced. ‘Ti(踢)’ means to kick in mandarin Chinese, while ‘Ta(踏)' means to step. Together, ’Tita’ refers to the motion of energetic kicking and stepping. True to the name, the dance is characterized by stepping on the ground with thick and heavy boots in time to the beat to produce sounds. While the soles and heels of the feet alternate in tapping the ground, the torso moves along in harmony. The dancers wear colorful costumes, with bells around their waists and legs that ring out joyfully.\n\nThe Tita Dance used to be performed only in fall each year, in Zang temples. However, after its spread to the public, it was performed without restrictions, on every important occasion such as festivals, gatherings and celebrations. Originally, only men were allowed to dance the Tita Dance. The greater the number of participants, the more fervent the atmosphere and the grander the sight. The Tita Dance of the Sichuan region originated from Tibet, and is characterized by crisp and exuberant rhythms.\n\nCharacteristics:\n∙Stepping on the ground with heavy boots to make sounds\n\nPerformed by Ganzi Tibetan Autonomous Region Ethnic Dance Company\nDirected by Liu lifu

The Tita dance (踢踏舞) is a form of mass dance performed for entertainment, passed down in various regions inhabited by the Zang people. It is very lively and fast paced. ‘Ti(踢)’ means to kick in mandarin Chinese, while ‘Ta(踏)' means to step. Together, ’Tita’ refers to the motion of energetic kicking and stepping. True to the name, the dance is characterized by stepping on the ground with thick and heavy boots in time to the beat to produce sounds. While the soles and heels of the feet alternate in tapping the ground, the torso moves along in harmony. The dancers wear colorful costumes, with bells around their waists and legs that ring out joyfully.\n\nThe Tita Dance used to be performed only in fall each year, in Zang temples. However, after its spread to the public, it was performed without restrictions, on every important occasion such as festivals, gatherings and celebrations. Originally, only men were allowed to dance the Tita Dance. The greater the number of participants, the more fervent the atmosphere and the grander the sight. The Tita Dance of the Sichuan region originated from Tibet, and is characterized by crisp and exuberant rhythms.\n\nCharacteristics:\n∙Stepping on the ground with heavy boots to make sounds\n\nPerformed by Ganzi Tibetan Autonomous Region Ethnic Dance Company\nDirected by Liu lifu

The Kaiui—also known as fui or be’u in different regions—is a traditional bamboo flute of Timor-Leste, cherished for its gentle, evocative sound that once echoed across rice fields, hilltops, and quiet village evenings. Long associated with solitude, emotional expression, and storytelling, the Kaiui is more than just a musical instrument—it is a vessel of memory and connection.\n\nTraditionally crafted from au-fafulu, a specific type of bamboo, the Kaiui features seven tone holes and is often about the length of a forearm. A key part of its design is the use of a corn cob or similar material to block part of the internal chamber, modifying the flow of air and shaping the distinctive tone. The player blows across the top opening while controlling the pitch with their fingers, producing melodies that are haunting, meditative, and subtly expressive.\n\nFor generations, the Kaiui was used by boys tending livestock in the fields, especially in the early mornings or during midday rest. It was played to pass the time, soothe animals, or simply to ease loneliness. Others used it to express feelings of longing—especially in matters of love, separation, or remembrance. In many communities, the flute is considered a deeply personal instrument, capable of giving voice to emotions that are otherwise difficult to speak.\n\nThe art of playing Kaiui is learned informally, typically by observing and mimicking older siblings, parents, or elders. There is no standard notation; the music lives through imitation, memory, and improvisation. Songs vary from region to region and even from player to player, with some tunes tied to seasonal rhythms or traditional events like sau-batar (harvest ceremonies) or rites of passage.\n\nThe Kaiui also plays a role in certain rituals and ceremonies, where its sound is believed to create a space of calm, welcome ancestral spirits, or accompany reflective moments. Its simple construction and natural materials reflect a worldview grounded in harmony with the environment—a flute made entirely from what the land provides, played under the open sky.\n\nToday, however, the practice of making and playing the Kaiui is increasingly rare. As younger generations turn to electronic music and imported instruments, the quiet music of the bamboo flute is fading from everyday life. In some communities, it survives primarily as a cultural demonstration during festivals or heritage programs.\n\nEfforts to preserve the Kaiui are now underway through workshops, school projects, and intergenerational exchanges. In these spaces, the flute is not only played but celebrated—as a living symbol of Timor-Leste’s musical heritage and a gentle reminder of how sound, memory, and identity are woven together in the simplest of forms.

In the rugged landscapes of Timor-Leste, where dry seasons can stretch long and food insecurity remains a reality for many, the people have long relied on their deep knowledge of wild, resilient crops. Among them is Koto-Tisi—a hard, dark wild bean that offers vital sustenance but must be carefully prepared to remove its natural toxins. What might appear at first glance to be just another seed is, in fact, a symbol of survival, ecological wisdom, and ancestral resilience.\n\nThe bean is typically found growing on hardy, thorny shrubs or climbing vines in semi-wild areas. It is gathered primarily by women, who know when the pods are ready to be picked and how to handle them safely. The challenge lies not in harvesting but in transforming Koto-Tisi into something edible—an intricate cooking process that has been passed down through generations.\n\nPreparation begins with repeated boiling and rinsing, sometimes up to five or six times. Each round helps to leach out the toxic compounds present in the bean. The water must be discarded each time, and the beans carefully watched to ensure that they soften without disintegrating. After boiling, the beans are often sun-dried and stored for later use, to be boiled again before eating or ground into a starchy paste.\n\nThe process is labor-intensive and demands both patience and precision. Elders in the community emphasize that the knowledge of how to process Koto-Tisi is not written in books—it lives in memory, movement, and the rhythms of daily life. To rush the process or ignore the sequence could lead to poisoning. For this reason, children are taught to observe closely, assisting their mothers or grandmothers and gradually learning the delicate balance between danger and nourishment.\n\nIn times of drought, scarcity, or natural disaster, Koto-Tisi becomes a lifeline. Its ability to grow in harsh conditions, with little water or care, makes it a dependable fallback when cultivated crops fail. But it is more than a survival food—it is also a testament to how culture and ecology intertwine. The knowledge required to use it safely reflects a deep respect for the land, a skillset honed through centuries of careful experimentation and oral transmission.\n\nToday, as dietary patterns change and imported food becomes more available, the practice of preparing Koto-Tisi is fading in some areas. But in others, it remains a respected tradition—especially among elders who see it not only as food but as a story, a ritual, and a reminder of community strength in the face of adversity.

The Babadok is a traditional percussion instrument of Timor-Leste, central to the soundscape of communal dance, ritual, and celebration. With its deep, resonant rhythm, the babadok doesn’t just keep time—it sets the emotional pulse of an event, weaving together the steps of dancers, the cadence of songs, and the energy of the gathered community.\n\nTypically made from a hollowed-out log or wooden tube covered at both ends with animal skin—often goat or cowhide—the babadok is lightweight and portable. Struck with the hands or sometimes with short wooden sticks, it produces a sharp, dry beat that is both grounding and expressive. The drumheads are stretched tightly and tied securely with natural fiber ropes, sometimes decorated with paint or carved patterns. Over time, each instrument develops its own distinct tone, shaped by use, climate, and craftsmanship.\n\nIn traditional ceremonies, particularly dances like tebe-tebe or tebe-lilin, the babadok is the heartbeat of the performance. It provides tempo, signals changes in movement, and helps dancers synchronize their steps. More than a musical tool, the babadok becomes a channel through which emotions—joy, sorrow, gratitude—are communicated and shared. During ritual gatherings, it may accompany singing, recitation of oral histories, or moments of spiritual invocation.\n\nThe instrument is most often played by women, though in some regions both men and women participate. Its accessibility is part of its charm—anyone with rhythm, respect, and a sense of the tradition can learn to play. Children often grow up hearing the babadok played at family ceremonies or village festivals, absorbing its patterns and rhythms before they ever try it themselves.\n\nCrafting a babadok is itself an act of cultural care. The choice of wood, the drying and stretching of the skins, and the tying of the drum all follow methods passed down through generations. Elders often guide young artisans in this process, emphasizing not just the technique but the responsibility that comes with creating something used in sacred and social spaces.\n\nDespite its enduring importance, the babadok—like many traditional instruments—faces challenges in modern times. Mass-produced drums and changing musical preferences mean that fewer young people are learning to make or play it. Still, efforts are being made to preserve the tradition, with community performances, school programs, and cultural events placing the instrument back at the center of public life.\n\nIn the rhythm of the babadok, one can hear more than music: it is the sound of continuity, of people moving together, of ancestors remembered and futures imagined. Whether echoing across a dusty dance circle or softly beating in a sacred house, the babadok remains a powerful symbol of Timor-Leste’s living heritage.

An oral game, Tsangmo or Tsam-mo is short and melodious poetry normally sung for entertainment by people of all ages in all the regions. It is also considered as one of the ornaments of speech. There are several very similar names for the game, with each having its own meaning and definition, according to the elderly village people; Tsam is a short poem either composed on the spot or learnt from elders or friends, which is recited to a melodious tune. Mo means divination or test. Therefore, it is a song sung to test the feelings of another person. In another version, it is also a song sung by individuals in a group, to make the same divination of feelings as above by a stick (Tsang) pointing to the personal items already collected from each of the participants, guided by the rhythms of the song.

Nepalese communities express their emotions through the rhythms of various folk dances. Folk dances, in fact, are an inseparable part of rural life. On the other hand, the religious influence can easily be observed in the songs and dances, which are often performed to please deities responsible for the well-being of humans and cattle, favorable climate, and good harvest. As the country has widely differing topographical features, so does it have vast variances in cultural aspects. Folk songs and dances depend on cultures, cas-tes, seasons, and geographical features. For example, a sherpa living in the Himalayan region sings and dances differently from a Tharu living in the Terai region. Similarly, songs and dances performed in the spring season express joyous emotions, whereas those performed in the winter season express sadness. This collection includes the most famous folk dances of the different indigenous communities of Nepal dwelling in various environments. These dances are a part of their daily life.

“Bangari Bhaka” comes from the Rukum District of the midwestern region of Nepal. The melody is played on baansuri and is accompanied by machetaa. This bhaka is distinguished by the variety of rhythms played on the maadal, which guide the dancers' feet. It is traditionally heard during winter festivals.\nInstruments: baansuri, machetaa, maadal

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

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 6 is 'ICH AND MUSICAL INSTRUMENTS'.

Oral tradition consists of diverse narratives. It is passed on by word of mouth as everyday wisdom and transmitted through the generations. After that, it becomes infused in a region’s history, philosophy, and way of life, thus forming the foundation for a community’s knowledge systems. This volume introduces traditional tales in Sri Lanka, Palau, Kyrgyzstan, and Vietnam.

2019 World Forum for Intangible Cultural Heritage

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 43 is 'MASK DANCE.'