Trần Thương Temple Festival\nin Nhân Đạo Commune, Lý Nhân District, Hà Nam Province\nTrần Thương temple - one of the three largest and holiest temples in the Red River delta is dedicated to worship Trần Quốc Tuấn or Trần Hưng Đạo, a supreme commander of Viet Nam during the Trần dynasty and his army to defeat the Mongolian – Yuan invaders in the 13th century.\n

Jimzo is a traditional art of forming religious images. Jim means "clay" and Zo means "art", literally "clay art". In Bhutan, it can be traced back to the 7th century, to the time of Tibetan King Songtsen Gampo (569–649?), who is believed to have built 108 Lhakhangs (temples), under which the pioneering Buddhist temples such as Kichu and Jampa Lhakhangs were built. Various clay paintings from different centuries, beginning with the time of Guru Rinpoche, attest to the existence of clay art in Bhutan much earlier. In the time of Terton Pema Lingpa (1450-1521), this art became popular. Towards the end of the 17th century, the art was codified and included by the fourth Desi (temporary ruler) Gyalse Tenzin Rabgye (1638–1696), as one of the thirteen arts and crafts of Bhutan. \n\nLater, at the time of Zhabdrung Ngawang Namgyal (1594-1651) in the 17th century, a very skilled sculptor named Trulku Dzing was invited to Bhutan. Trulku Dzing erected numerous clay figures in Punakha and Wangduephodrang Dzong. After his death, the tradition was passed on to Trulku Sanga Gyaltshen, the second Trulku of the Neyphug Thegchen Choling Gonpa, also known as Heyphug Thegchen Tsemo Gonpa (monastery) in Shaba Gewog (block) under Paro Dzongkhag (district). Trulku was known for his skill in sculpting and had many followers. This skill was passed on to successive Neyphug Trulkus (successive incarnations) and later passed on to younger generations of sculptors by Gomchen Phurje, an experienced sculptor from Neyphu. Thus, the art of clay sculpting was highly valued by Neyphu and sought after by many. \n\nAp (senior citizen) Gyeltshen (82) from Neyphug village in Paro is a popular clay sculptor. He learned this art at the age of fifteen from an experienced sculptor named Dago. Dago had learned this skill from an accomplished master named Phurje. Ap Gyeltshen passed on this skill to his son Tshewang Penjor (38), who now helps his father with the sculpting work. They have offered their skills at Bumthang Kuje Lhakhang and Paro Taksang by making clay statues. According to Tshewang, he and his father have worked for fifty Lhakhangs. They not only offer these services to Lhakhangs and Goendeys, but also accept many private commissions for various Buddhist images. Ap Gyeltshen has also traveled to other countries at the invitation of foreigners to share his skills. He has students both from home and abroad. The sculptures of Ap Gyeltshen and his son are known for their quality and grace. His works are based on the iconographic principles of Buddhist art.

Water puppetry (Múa rối nước) constitutes an invaluable cultural heritage in the domain of performing arts. Statues of water puppetry are made of wood, usually coming from fig trees. They are handled underwater by bamboo sticks to reflect the daily spiritual life, viewpoints, thoughts, and feelings of the local people.

Sculpting. A kind of applied arts of creating sculptors, statues, and different figures from metall, plaster, wood, stones and etc.

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.

The sixth sub-regional networking meeting took place in Pacific Harbor, Fiji, in April 2015. The meeting was organized by ICHCAP and the Department of Heritage and Arts of Fiji in collaboration with the UNESCO Office in Apia.\nThis meeting report includes presentation materials from the sub-regional meeting as well as summaries of the meeting with the intent of providing information to promote international cooperation among experts and institutions in the ICH safeguarding field in the Pacific region.

Since the beginning of 1950s, the Institute of Language and Literature at the Academy of Sciences in Mongolia has initiated sending the survey teams, 1-3 times a year, for researching and gathering data on oral literature and local dialectics. The initiation of above activities has set the groundwork for official establishment of a new archive with written documents and magnetic audio tapes, utilization for research purposes and the maintenance. Along with sending the survey teams, individuals/bearers were invited to the Institute from the local areas and their repertoire were recorded on magnetic tapes.\n\nAs a result, a rich repertoire of the epics, folk tales, folk songs, benedictions, odes, riddles, proverbs and other main elements of Mongolian oral heritage in their local dialectics and characteristics were succeeded to be recorded and collected at once as never before. The language and dialects that have already lost their distinctiveness or absorbed into the central one, now already the extinct forms of oral literary expressions and heritage are remained and preserved on magnetic tapes. This fact is raising the historic and academic values more for those original forms which were preserved on the magnetic tapes.\n\nDue to the fact that the most of the magnetic tapes being kept at the Institute are more than 60 years old, the storage period of some of the tapes has already been expired. Also, the un-proper storage conditions have caused some tapes to get dried, clung to one another or fractured. Due to above reasons, the inevitable need has risen for restoration and digitization of these magnetic tapes as well as improvement of the storage conditions and environment. Accordingly, since 2008, some efforts have been made towards restoration and digitization of these superannuated magnetic tapes within the internal capability and capacity of the Institute. Although, due to the lack of capable human resources, finance and proper tools and technical equipment, these efforts to restore and digitalize faced several obstacles and have shown un-successive results.\n\nIn 2009, the authorities of the Institute have introduced to the Foundation for the Protection of Natural and Cultural Heritage their request to cooperate. Since, the organizations have started to collaborate on the possibilities to restore and digitalize the superannuated magnetic tapes. Accordingly, the Foundation for the Protection of Natural and Cultural Heritage proposed to ICHCAP to continue the Joint Project and take measures for restoration, digitization of the superannuated magnetic tapes, and distribution and dissemination among general public.

The Conference on exploring and safeguarding shared ICH in East Asia jointly organized by ICHCAP and the UNESCO Beijing Office and hosted by the Mongolian National Commission for UNESCO, was held on 10 September 2021.\n\nThis report is composed of eight case studies of East Asian Member States—namely China, Japan, Mongolia, and ROK.