Among the traditional music treasures of the Khmer people in the Mekong Delta, there is Chầm riêng chà pây, a folk art form that comprises instrumental and solo vocal performances. An age-old tradition, Chầm riêng chà pây flourished among the community of the Khmer people in Tra Vinh province during the first decades of the twentieth Century, but today, the art is fading gradually.

Among the traditional music treasures of the Khmer people in the Mekong Delta, there is Chầm riêng chà pây, a folk art form that comprises instrumental and solo vocal performances. An age-old tradition, Chầm riêng chà pây flourished among the community of the Khmer people in Tra Vinh province during the first decades of the twentieth Century, but today, the art is fading gradually.

Among the traditional music treasures of the Khmer people in the Mekong Delta, there is Chầm riêng chà pây, a folk art form that comprises instrumental and solo vocal performances. An age-old tradition, Chầm riêng chà pây flourished among the community of the Khmer people in Tra Vinh province during the first decades of the twentieth Century, but today, the art is fading gradually.

Among the traditional music treasures of the Khmer people in the Mekong Delta, there is Chầm riêng chà pây, a folk art form that comprises instrumental and solo vocal performances. An age-old tradition, Chầm riêng chà pây flourished among the community of the Khmer people in Tra Vinh province during the first decades of the twentieth Century, but today, the art is fading gradually.

ICH Video Production in the Asia-Pacific Region : Central Asia\n\nRapid urbanization and westernization are changing the environments in which intangible cultural heritage is rooted. The importance of documentation that traces the effect of social changes on intangible cultural heritage is being emphasized as a safeguarding measure. Quality video documentation is an important resource that enables the conservation and transmission of existing intangible cultural heritage and raises its visibility.\n\nVideo documentation is the best medium to record intangible cultural heritage in the most lifelike manner, using the latest technologies. It is also an effective tool for communicating with the public. However, conditions for video production in the Asia-Pacific remain poor, requiring extensive support for quality video documentation.\n\nICHCAP has been working to build the safeguarding capabilities of Member States and raise the visibility of intangible cultural heritage in the Asia-Pacific by supporting the true-to-life documentation of intangible cultural heritage as this heritage is practiced and cooperating with experts, communities, and NGOs in related fields.\n\nSince 2010, ICHCAP has hosted annual Central Asian sub-regional network meetings with Uzbekistan, Kazakhstan, Kyrgyzstan, Tajikistan, and Mongolia to support the ICH safeguarding activities of Central Asia. Through their collaboration, ICHCAP has supported projects involving collecting ICH information, producing ICH websites, and constructing ICH video archives.\n\nAt the Sixth Central Asia Sub-regional Network Meeting in Jeonju in 2015, ICHCAP, four Central Asian countries, and Mongolia adopted a second three-year cooperation project plan on producing ICH videos to enhance the visibility of ICH in Central Asia.\n\nICHCAP developed guidelines and training programs for the project and invited video and ICH experts from the participating countries, and held a workshop in November 2015. After the workshop, focal points for the project were designated in each country, and each focal point organization formed an expert meeting and a video production team to produce ICH videos.\n\nInterim reports were submitted to ICHCAP in February 2016, and the first preview screening was held in Dushanbe, Tajikistan, during the Seventh Central Asia Sub-regional Network Meeting in May 2016. Since then, each country has carried out the project according to the project plan. ICHCAP met with each country between October 2016 to February 2017 to check on the project progress.\n\nAfter the final preview screening during the Eighth Central Asia Sub-regional Network Meeting in Bishkek, Kyrgyzstan, in 2017, final editing process took place in each country, and fifty ICH videos were completed by October 2017.\n\nAll photos introduced on this page along with fifty ICH videos are from the exhibition 'Living Heritage: Wisdom of Life' held in the Republic of Kyrgyzstan and the Republic of Korea. Designed for introducing various ICH in the five countries, this exhibition shows photos on representative twenty elements in each country collected during the process of on-site survey and documentation for ICH Video Production Project in Central Asia by experts participated in the ICH video production project.\n\nICHCAP will continue its ICH documentation projects in the Asia-Pacific region for the next ten years by expanding the scope from Central Asia and Mongolia to Southeast Asia, Southwest Asia, and the Pacific.\n\n\nPartners\nMongolian National Commission for UNESCO • National Commission of the Kyrgyz Republic for UNESCO • National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • National Commission of the Republic of Uzbekistan for UNESCO • National Commission of the Republic of Tajikistan for UNESCO • Foundation for the Protection of Natural and Cultural Heritage Mongolia • National Committee for the Safeguarding of the Intangible Cultural Heritage under the National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • School of Fine Art and Technical Design named after Abylkhan Kasteyev • State Institute of Arts and Culture of Uzbekistan • Tajik film • Tajikistan Research Institute of Culture Information • Korea Educational Broadcasting System • Asia Culture Center\n\nSupporters\nUNESCO Almaty and Tashkent Cluster Offices • Cultural Heritage Administration • Panasonic Korea • Turkish Airlines

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

Intangible cultural heritage (ICH) is transnational in nature. It is necessary to spread the perception that ICH transcends geographical spaces and national borders, creating dynamic relations, connectedness, and continuity, which is why it is a timeless bearer of cultural diversity, the foundation of the heritage of humanity. However, as the modern structure of nation-state determines the boundaries of culture with national borders, forming the concept of “culture within the country”, subsequently led to the perception that the ownership of culture belongs to the state.\n\nThe concept of exclusive ownership of culture is often controversial in the UNESCO listing process, particularly in instances where cultural heritage and cultural domains have been shared for a long time by two or more nation-states. Such conflicts lead to excessive competition for nomination, overshadowing UNESCO’s fundamental purpose of contributing to peace and security in the world by promoting collaboration among nations, as well as the very spirit of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage that promotes international cooperation and assistance in the safeguarding of ICH as a matter of general interest to humanity.\n\nConsequently, UNESCO encourages multinational inscriptions of shared intangible cultural heritage to promote regional cooperation and international safeguarding activities, preventing conflicts among countries and coping with already existing ones. By emphasizing joint nominations of shared ICH, UNESCO revised its implementation guidelines three times to deal with conflicts between countries due to the cultural property rights. In addition, States Parties are encouraged to develop networks among relevant communities, experts, professional centres, and research institutes, particularly with regard to their ICH, to cooperate at the sub-regional and regional levels.\n\nAt the 13th Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage held in the Republic of Mauritius in November 2018, Traditional Korean Wrestling was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity as the first joint designation by the Democratic People’s Republic of Korea and Republic of Korea. This milestone in the life of the Convention demonstrates that ICH contributes to the peace-building, reconciliation, mutual understanding, and solidarity among peoples. Indeed, only when acknowledging that shared cultural values are empowering characteristics of ICH, the true perspective of the unifying agent of the cultural diversity can be achieved, and that it is the cornerstone of reaching peace among nations.\n\nCountries in the Asia Pacific region are deeply connected by a long history of interactions, exchanges, flows of people, goods, and ideas that have shaped shared values, practices, and traditions. Having a balanced view, advocating for cultural diversity, and recognizing the commonalities among individuals, communities, and countries as a strength are virtuous tenets in the present time.\n\nIn this regard, APHEN-ICH Secretariat, ICHCAP, and UNESCO Bangkok Office are inviting the APHEN-ICH member institutes and public to this seminar under the theme of Diversity and Distinctiveness: Looking into the Shared ICH in the Asia-Pacific, to re-assess that while fragile, intangible cultural heritage is an important factor in maintaining cultural diversity, connecting bounds, and enhancing international dialogue and peace.

This is one of the most lyrical songs with the lyrics sending moving messages. Its lyrics are often poetic sentences with seven or eight words. They are sometimes the six-eight-word verses with the plaintive content. Its tune is clear and calm.

Phú nói in hát văn is influenced by hát nói (recitative) of ca trù, a popular traditional musical type of Việt people. Phú nói has to be performed with a mature and slow style, in which each word is sung clearly and slowly. Performers have to gather air in their necks and release it slowly with singing expletives and without opening their mouths widely. The ư hư expletive, which is typical in hát nói of ca trù, is applied to the Phú nói melody of hát văn. Nevertheless, instead of using the ư hư expletive all the time, performers can sing the i i expletive, which is a typical characteristic of hát văn. The nguyệt (moon-shaped lute) also simulates the sounds of the đáy lute, which is a typical instrument of the ca trù art. The lyrics of Phú nói are a poem with a seven-seven-six-eight metre. Each musical phrase is corresponding to one verse sentence. This style can express the lyrics coherently; thus, it is preferred by the cung văn. Phú nói is performed in triple time at a slow tempo, and strings tuned to dây bằng. In hát văn thờ, Phú nói usually appears after Phú bình and Phú chênh.

Lượn lặn song is similar to Hà lều (please refer to track 11). Where Hà lều is sung with a seven-seven meter poem, Lượn lặn is sung with twelve-word poem. The lyrics are about confidence in love.

Phú chênh was once performed only in the hát văn thờ; however, the cung văn now perform it in hát văn hầu. Different high and low registers are included in Phú chênh; especially, in the middle, each singing word is lengthened, breaking the highlight of the poetic beat to create unsteadiness, which is where this melody gets its name. In hát văn thờ, as regulated, Phú bình is followed by Phú chênh. Phú chênh is performed in triple time in a moderate tempo, and its tuning is dây bằng. Similar to Phú bình, Phú chênh has the structure of seven-seven-six-eight-seven metre. The vay trả singing style or gối trổ can also be found in Phú chênh.

CD6 CA TRÙ SINGING\nCa trù singing has other names such as hát ả đào, hát cửa đình, hát nhà tơ, hát nhà trò, or hát cô đầu. According to Đại Việt sử ký toàn thư (The Complete Book on the History of Đại Việt), Ca trù appeared in the Lý dynasty (1010-1025) under the name Ả đào singing. Many Ả đào singing contests were held in the village communal houses. In that time, village notables often played the praised drum while enjoying the performers singing and threw reward cards to the singers who performed well. That card was call “trù”. Gradually, the way of rewarding the singers with cards became known as Ca trù. This name is found in the poem namely “Nghĩ hộ tám giáp làm giải thưởng cho cô đào hát” (“On Behalf of People from Eight Hamlets to Write the Rewarding Rule for Awarded Singers”) of Lê Đức Mao in 1500. Ca trù is a popular genre of traditional singing and dancing of the Kinh people in the northern and the central Vietnam. The key members of a Ca trù band include one đàn đáy (three-stringed lute instrumentalist) (the đàn đáy is the only musical instrument for accompanying Ca trù), one singer who both sings and plays the phách clappers, and one praise drummer (known as quan viên cầm chầu) player.\n\nCa trù can be performed in a wide variety of places. Ca trù was born to serve as worship singing. From serving as worship at the village communal houses and ancestor worship, Ca trù has changed into singing for entertainment at private houses, restaurants, or cabarets. In addition to these main performance environments, Ca trù was performed at the royal palace and the palaces of mandarins. At present, Ca trù is sung as traditional music. In each performance environment, Ca trù has some changes in terms of the repertoire, musical nature, or performance styles. The CD Ca trù singing (Hát Ca trù) introduces some songs that which were performed for worship and for entertainment. They were recorded in 1970 (tracks 5, 6, and 7), in 1982 (tracks 1 and 4), and in 1997 (tracks 2 and 3) and performed by the three most famous Ca trù folk artists.

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.

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.

ICHCAP and the Vanuatu Cultural Center organized the fourth sub-regional networking meeting in collaboration with the UNESCO Apia Office. Representatives from the collaborating organizations as well as from six Pacific countries—Fiji, Federated States of Micronesia, Palau, Papua New Guinea, Tonga, and Vanuatu—attended the meeting in Port Vila, Vanuatu, in April 2013. This publication includes presentation materials as well as meeting summaries to provide information to promote international cooperation among Pacific experts and institutions in the ICH safeguarding field.

As part of the Cultural Partnership Initiative of 2016, ICHCAP invited ICH professionals from Malaysia, Mongolia, Sri Lanka and Tonga. Each participant researched ICH topics of interest that relate to comparative studies, sustainable development, traditional medicine, and safeguarding organizations. These reports were compiled into a bound publication and is now made available as an online download.

UNESCO-ICHCAP, with cooperation of the International Institute for Central Asian Studies(IICAS) and Korea-Central Asia Cooperation Forum Secretariat, organized the launching events of the Silk Roads Living Heritage Network (SLN) on October 28 and 29, at DDP, Seoul, and Online during Korea Foundation’s ‘Public Diplomacy Week. This publication contains about this event.\n\nThis networking program is based on experiences and achievements obtained from the collaborative work of UNESCO-ICHCAP in the living heritage field in Central Asia over the last decade.\n\nFor reference, the networking program comes on the heels of a three-party MoU signed by ICHCAP and organizations in Uzbekistan in 2019 and was followed by a Central Asia network meeting in Kazakhstan in 2019. In 2020, ICHCAP in cooperation with International Institute for Central Asian Studies (IICAS), conducted a survey project about ICH festivals along the Silk Roads, particularly with countries along the steppe route. Regarding the survey result, ICHCAP, IICAS and Korea-Central Asia Cooperation Forum Secretariat of the Korea Foundation (KF) held an online webinar and a strategic meeting to consider the need for realizing the multilateral values of Silk Roads-related cooperation.

Based on the ICHCAP Field Survey on Intangible Cultural Heritage Safeguarding Efforts in some Pacific countries (2009-2013), this summary provides a brief overview on the ICH situation in Fiji, Papua New Guinea, the Cook Islands, the Marshall Islands, Tonga, Palau, Vanuatu and Federated States of Micronesia. The summary focuses mainly on ICH safeguarding systems, safeguarding policies, and ICH inventories as well as on pending issues and the urgent safeguarding needs of these countries. Moreover, information on the main entities in charge of ICH safeguarding and opinions of each country on the issue of community involvement are provided. To give a quick overview these countries’ participation in ICH safeguarding at the international level, some additional information related to UNESCO is specified as well. Apart from the main topic, information on the situation of intellectual property related to ICH safeguarding in each country is included. This survey report offers a large sample of the diverse ICH situations in Pacific countries. Each country has a different background on the issue of intangible heritage. Although all countries participating in the survey are concerned with the threats facing their ICH, most of them haven’t defined ICH and haven’t established inventory national ICH list or inventory. However, each country expresses a high degree of motivation and encouragement for safeguarding ICH, sharing experiences, and participating in international cooperation efforts. Compared to some Asian countries, Pacific countries seem to be well aware of the emerging intellectual property issues related to ICH. This might be related to the internationally publicized infringement and violation of intellectual property rights by outsiders on the Pacific’s traditional knowledge, cultural expressions, and genetic resources . Moreover, these countries appear to collaborate closely with the World Intellectual Property Organization on various awareness-raising and capacity-building activities on protecting traditional culture in a broad sense. To date, out of the eight Pacific countries participating in the survey, five countries (Fiji, Papua New Guinea, Cook Islands, Palau, and Vanuatu) are drafting laws on the protection of traditional knowledge and expressions of culture. Furthermore, in terms of technical terminology, the Pacific countries tend to use “traditional knowledge” and “expressions of culture” as equivalent terms to “intangible cultural heritage”. Pacific countries are also conducting cultural mapping projects, which is another common point that they share. Finally, the Pacific region has the highest rate of indigenous populations of any other region of the world and the highest rate of customary or traditional land ownership.\n\n- Ratified the ICH Convention in 2010; conducted survey in 2009 and updated in 2015.\n- As of March 2018, has no elements on the ICH Lists of UNESCO and no accredited NGOs.