The region of Bay of Bengal has been an important part of maritime activities, including trading and fisheries from very ancient times. The significance of the region continues even at present. The massive \nwaterbody is a representation of a busy network of trade and commerce and the basis of livelihoods for thousands who surround it from all sides from various countries. Fishing as an occupation is an important \nsector of food and nutritional security and India alone, has more than nine million active fisherfolk across its coastline, who are directly dependent on fisheries for their livelihood, amidst which 80 % are small scale fishers. The sector of fisheries employs over 14 million people and contributes to 1.1 % of the Indian GDP. Though the number remains unaccounted for in most countries, but amidst the number of \nfishermen, there is a substantial number of fisherwomen, who have been contributing through generations in various ways, including supplementing the family income through alternative methods of income, as well as being the main conduits of maintaining various elements of intangible cultural heritage, including traditional methods of fishing. This research paper is an attempt to look into the contribution of the fisherwomen community around the western fringes of the Bay of Bengal, especially looking at the countries of Bangladesh, India and Sri Lanka and the vital contributions of these womenfolk. The fisherwomen \nnot only help to sustain the families through the main profession of the family, but also helps financially through various subsidiary modes of income, like handicrafts and artwork. This is extremely helpful for sustaining the family in time of the lean seasons of fishing, as well as during periods of disaster, like the present Covid-19 pandemic situation. These attempts of the fisherwomen, thus, connects various factors to \noverall social cohesion and development, including sustaining various channels of intangible cultural heritage which directly connects to their main profession and also helps in transmission of community values \nand also redefines gender roles within the community.

Lhamo’i Drubchen, or colloquially Lhamo’i Dromche (with a corrupted form drubchen), is a grand religious ritual and mask dance dedicated to Palden Lhamo, the principal female guardian deity of Mahayana Buddhism. It is conducted in Thimphu Dzong (Thimphu Fortress) by Zhung Dratshang (Central Monastic Body) and is the most highlighted annual event that takes place before the monastic body leaves for the summer residence in Punakha Dzong.

Since the United Nations Educational, Scientific and Cultural Organization (UNESCO) was initiated in 1946 to promote world peace and development based on international understanding and cooperation, there have been continuous efforts to safeguard cultural heritage of humanity. However, it is undeniable that tangible cultural heritage, which includes natural and cultural heritage, received greater emphasis than intangible heritage. The Convention for the Safeguarding of Intangible Cultural Heritage adopted in 2003 in Paris ("2003 Convention" hereinafter) is regarded as a milestone that changed the historical perception and marked a turning point.

Countries in the Asia-Pacific region abound in a wealth of cultural expressions, but these expressions are not often recognized as skills that may be used to revitalize communities. ICH safeguarding needs to look beyond research and documentation, building databases on art forms, and creating awareness through one-off festivals or made-up landscapes where the artists and crafts persons are uprooted from their natural environment to engage in demonstration. The paper shares examples from an initiative in India that emphasizes the need for investing in communities to revitalize their traditional skills and promote community-based creative enterprises, including cultural tourism to safeguard ICH. The Art for Life (AFL) initiative of banglanatak dot com, a social enterprise headquartered at Kolkata, India, aims at fostering an alternative pathway for development using cultural heritage as concrete means for improving people’s livelihoods and empowering local communities. Around twelve languishing folk art forms have been revitalized. The initiative has led to improved income and quality of life for 5,000 traditional artists. Non-monetized outcomes include improved education of children, improved health, and better access to sanitation. Capacity\nbuilding of the ICH practitioners, documentation, and dissemination, heritage education and awareness building, and promotion of grassroots creative enterprise have been the critical components of the safeguarding process.

Based on the accumulated experience over the course of fifteen years since the adoption of the 2003 Convention, Southeast Asia is well known for its diverse and abundant intangible heritage. Many states in this region have already initiated ICH safeguarding plans with active participation of communities.\nHowever, a number of Member States are still having difficulties employing community‐based safeguarding plan and programs. In implementing the 2003 Convention, much attention should be paid to build capacity to support and safeguard a wider range of ICH Stakeholders, including communities, group, and individuals.\nTherefore, this session will provide an opportunity to share experiences and discuss on the roles the community should exercise in safeguarding ICH. In this session, we will discuss the following questions: (1) Do ICH communities, groups, individuals, and practitioners fully recognise the spirit and significance of the 2003 Convention? (2) Are they subsequently assigned to embody appropriate roles?

Patachitra is a story telling tradition of the Medinipore region of West Bengal in Eastern India. In this unique art form, oral tradition meets the visual structures of a narrative. The bard presents the story with pictures and simultaneously narrates a song called “Pater Gaan”. The word pata is derived from the Sanskrit and Pali word patta, which means “cloth.” Chitra means “picture.” Patachitra means “picture painted on cloth.” The painter community is called Patua. All of them bear the last name Chitrakar, meaning painter.

Cultural exchange promotes cultural diversity and contributes to cultural sustainability. This was the key learning from the Communities Connecting Heritage (CCH) program supported by the US Department of State and administered by World Learning. Learning Together for a Brighter Future was a collaboration under this program, between banglanatak dot com, an Indian social enterprise working on culture and development, and the Smithsonian Center for Folklife and Cultural Heritage (CFCH) in Washington DC. Around twenty young cultural professionals from the USA and thirty-one young tradition bearers from the state of West Bengal in eastern India had varied exchanges on art, music, food, lifestyle, and globalization as well as the use of social media in popular culture. The Indian participants included traditional storytellers or patuas, who paint stories on long scrolls and sing them; artists practicing the ancient dokra metal craft; Baul folk singers; and theatre artists. There were also in-person visits to West Bengal and Washington DC by a five-member delegation from each side. The youngsters not only shared photos and videos explaining their culture but also discussed cultural sustainability; virtual workshops were held to develop skills in interviewing and recording, and effective storytelling. Finally, the Indian and American participants paired up to write blogs on shared interests and experiences; the subjects varied from discovering common concerns on raising a child to managing heritage sites. Commonalities were also found in the traditions, for example food items like sopapilla and luchi, and painting traditions like patachitra and retablo.\n\nDuring the CFCH delegation’s tour of West Bengal in February 2018, the Americans met the artists at the World Peace Music Festival Sur Jahan in Kolkata, visited cultural and heritage landmarks, and learned about community-based cultural industries. They also participated in a round table on heritage education for youth and an exhibition titled Through the Eyes of Young Americans that summed up their experience. From June to July 2018, the Indian delegation visited Washington DC. The city’s vivid cosmopolitan character, a mind-boggling array of cuisines, and a stunning nightlife mesmerized them. Engagement of community and the larger public in a weekend drum circle, weekly jazz concerts, DC Alley Museum, and the Smithsonian Folklife Festival left a deep impression. The patuas painted a scroll on the story of rights campaigns at the National Mall; the audience loved it and the song narrating the story. On 13 August 2018, a webinar was held to share the participants’ experiences and insights. As the program drew to a close, it had succeeded in bringing the multicultural roots and ethos of America to the young Indians’ hearts and sensitized the young Americans about Bengal’s cultural traditions. For detailed information, please check the webinar below and the event’s blog.\n\nPhoto 1 : Learning scroll painting at Patua village ⓒ banglanatakdotcom\nPhoto 2 : Bauls discussing music on the move with Catalonian musicians ⓒ banglanatakdotcom\nPhoto 3 : Indian team at the Lincoln Memorial in the USA ⓒ banglanatakdotcom

Patachitra of Bengal is a storytelling tradition of eastern India practiced by a community known as Patuas. They paint the stories in long scrolls and sing them. The Patuas used to visit rural households and sing songs from mythology, epics, and folklore. This article narrates how the Patuas community living in Naya Village of the Paschim Medinipur District of West Bengal revived their storytelling tradition. There are around five hundred Patuas spread across the districts of Purba and Paschim Medinipur.\nTwo decades ago, fewer than a score of the tradition bearers in Naya continued the practice. With the proliferation of electronic media, storytellers have lost their audience. To revive their tradition, Contact Base worked with the Patuas to document orally transmitted songs and the forgotten processes of making natural colors. Under the leadership of the veteran storytellers in the village, the Patuas started to paint and sing traditional songs as well as new ones on contemporary issues and happenings. The practitioners started painting their stories on a diverse range of decorative and utility products. Their work was widely appreciated. The Patuas started traveling across India and the globe. The recognition created interest among the youth to pursue the tradition. Currently, all Patua families in Naya are pursuing patachitra as a sustainable livelihood. The painters are regularly commissioned for wall art installations in airports, museums, and prestigious buildings. The village has a community museum. More than a decade back, a village festival was started to create awareness in the community of storytellers.