"About the Centre for Intangible Heritage Studies (CIHS) The Centre for Intangible Heritage Studies (CIHS) is an academic center based at the Sree San- karacharya University of Sanskrit, Kalady (SSUSK) in the state of Kerala in India. It is the first academic center in India established exclusively for the study of intangible heritage. It should be noted here that the discipline or subject of intangible heritage is relatively new, coming into existence only with the launch of the 2003 UN Convention for the Safeguard- ing of the Intangible Cultural Heritage (ICH). Up to then, all discussions on heritage were restricted to its tangible aspects. More than a decade since the 2003 Convention, there remains a lack of awareness about."

While recording and performance copyrights on some of the recordings has expired, the underlying works recorded in most cases fall into the categories of intangible cultural heritage featuring traditional cultural expressions (TCEs) not normally covered by legal copyright frameworks. With the growing interest among indigenous and traditional communities around the world in cultural reclamation and increased awareness among these communities of their cultural documents held in museums, libraries, and archives sometimes thousands of miles away, new frameworks for dealing with the unique intellectual property challenges these documents raise are required. This paper will describe the learning curve and outcomes of attempts at the BL to establish such workable frameworks and methods for legal and ethical inclusion of a large body of material for worldwide distribution on the BL Sounds website. The paper offers anecdotal reports and ideas for the development of best practice for dealing with intellectual property in this context.

Summary of Special Lecture by Ki-Moon Ban, the 8th Secretary-General of the United Nations, at the 2019 World Forum for Intangible Cultural Heritage\nHumanity has enjoyed the benefits of nature while also destroying it to a large extent in the process of pursuing their desires. Since the inception of the World Commission on Environment and Development (WCED) in 1987, we have endeavored to be conscious of our common future and secure resources to be used by our future generations for millions of years to come, while at the same time asking ourselves how the current generation could live in prosperity. These efforts developed into the concept of sustainable development.

Among the five countries making up the North-East Asian region, four of them—the Republic of Korea (South Korea), China, Japan, and the Democratic People’sof Korea (North Korea)—have a lot of common cultural characteristics based on their historically agrarian lifestyles and the influence of Confucianism and Buddhism. Mongolia, as nomadic society, crisscrossing the vast grasslands with livestock, displays different cultural characteristics. In addition, even within the four nations that share common elements, each country’s natural environment facilitates cultural differences among them. This essentially means that the North-East Asian region is home to the simultaneous convergence and divergence of culture. So, in the process of cultural development in the region, the interaction between homogeneous and heterogeneous elements materialised into various forms intangible cultural heritage (ICH) and cultural expressions with unique features but similar origins.

For centuries, Korea had been a predominantly agricultural society; the overwhelming majority of its population engaged in farming. As a result of the rapid industrialisation that began in the 1960s, however, much of the population migrated from farming villages to cities. And during this period, Americancentred, Western culture had an enormous impact. Owing to this simultaneous industrialisation, urbanisation, and westernisation, the older way of life was rapidly disappearing. The older arts, rituals, and other kinds of intangible cultural expression that articulated the formerly prevalent way of life were also in jeopardy of rapidly disappearing. The instigation of the intangible cultural heritage system was intended to designate the valuable forms of expression that were being pushed to extinction by modern civilisation, to protect them, and to ensure their continued transmission.

Intangible cultural heritage presents an important form of living cultural heritage. It covers fundamental, yet extremely vulnerable aspects of living culture and tradition embodied in the spiritual life, traditional knowledge, skills, and practices of communities. It presents one of the most vivid and colourful forms in which the world’s cultural diversity is expressed and preserved.

Engaging the youth in the safeguarding and promotion of intangible cultural heritage has been a priority for intangible cultural heritage experts in the Republic of South Korea. In the present research, I therefore seek to briefly examine the issue of youth engagement in Korean intangible cultural heritage system through the lens of critical theory of youth engagement. By examining current programs developed and implemented for, with and by the youth, I would like to identify the dynamics that inform the engagement of young people in the safeguarding and promotion of Korean intangible cultural heritage. Among many other things, I argue that, the youth-adult relationship significantly influences both the operation and outcome of the existing programs. And in a broader sense, such evolving relationship should be understood as manifestation of the symbolic dynamics currently informing the operation of intangible cultural heritage system in the Republic of South Korea as well as the expected outcomes of intangible cultural heritage safeguarding and promotion.

On 17 January, in Macerata Campania,1 a small town in southern Italy, the citizens repeat the ancient feast of St. Anthony the Abbot (in the local language, A festa ‘e Sant’Antuono). On this occasion, the citizens build huge boat-shaped floats, i.e. ornamental wagons dedicated to St. Anthony called carri di Sant’Antuono, on which the battuglie di pastellessa parade through the streets of the town, performing the ancient music of St. Anthony, accompanied by a percussion of barrels, vats and sickles. The battuglie di pastellessa are a local group formed of about 50 people called bottari (i.e. particular musicians called “barrel-beaters”) and coor-dinated by an orchestra leader known as capobattuglia. During the festival, over 1,000 bottari (young people, adults and even children) play percussions with barrels, vats and sickles, common tools for agriculture, to give life to the typical music of St. Anthony, commonly called pastellessa.\n