The body of the harp is made of good quality Padauk wood. It is not as same as the Myanmar Harp because it is curved in the shape of the hull of a boat. The arm of the harp is made of PJn:ma (kind of large timber tree/ larger stroemiaspecion). The floral scroll-work is curved at the top of the arm and the square shape of the peg is used to tune the strings of harp. The reed of the harp is made of cutch wood. The body of young cow’s skin is covered the body of sound body. There are nine harp strings that are put on it. The creeper strings and the cane strings were yarned together as the harp strings which were used in the past time. Nowadays, steel strings are put on as the harp strings. When making the Karean harp ,first, go to the deep forest and make offering consisting of hands of bananas, coconut etc. The harp is made to be finished in the forest. Before putting the strings on it, it has to be made to gain magical power using star-flower, jasmine, the rock dammar flower, the frangipani flower, the vachellia flower (kind of fragrant flower) and the tiger-lady (species of orchid ). After making the harp, women don’t touch and hold it to make it more magical power according to Karean’s Tradition or custom. \nThe playing method of the Karean Harp is easy and simple. It can be easily learned to play by hearing musical scale up and down when the skillful player is playing it. After tuning the harp strings, it is held tenderly to the bosom. Left hand is placed with five or six strings for opening and closing tunes. The rest of one to four strings have to be played with the right thumb and forefinger.

Good quality of wood is chopped and smoothened. The top and body of the wood is curved. The top of wood has to be bored five holes that are called Nat ThaMee holes (hole in the body of harp). The holes of the body are plugged with wood flat, zinc flat and bamboo flat. It is better if it is covered with leather. Three strings are put on it. The plectrum is made of plastic or bamboo. According to the melody, three strings of the arm of the lute have to be pressed with the right hand and the left hand holds the plectrum and the plays the strings to produce the song. In the past, when young unmarried boys wanted to fall in love with a young unmarried girls but they didn’t dare to say anything to her, they expressed their feeling as song and rhetorical compositions or prosodies by playing Karean lute.Nowadays,it is played together with the other instruments. It has to be played at Karean traditional festivals, Karean plays and Union day ceremony.\n-35 inches in length\n-11 inches in the sound body\n-20 inches in the arm\n-5 inches in the plectrum

The dombra, a two-stringed plucked instrument, has played an integral part of Kazakh culture since ancient times. By performing kuy (a short solo composition) on the dombra, the nomad expressed his feelings. The only harmonic material for dombra that fully meets the traditions and rules is the tree. The tradition of hollowing out the instrument from a single piece of wood relates to mythological ideas about the sacredness and inviolability of the tree. The entire process of manufacturing dombra in ancient times took four years, and each instrument was custom made based on the player’s physique, voice, repertoire, gender, and was endowed with a special spiritual content.

By using Rakhine Royal Drum was found at the period of Visali of the king of Chandra. At the time of king Chandra, the lyrical ode of the crown-princess Saw Pyae Nyo was played with the various kinds of instruments. Long-drum and Than-Lwin-drum contained in this instruments.In the Myanmar era of 897 ( 1535 AD) when was called Lay Myoe Age, King Min Bar built Yan Aung Zaya Chittaung stupa with a vaulted vase. Rakhine oil lamp dance, Shawl dance, Powewar dance, the sports of Mrauk.U period such as the posture of wrestling, boxing, the stick martial art and the figures in the posture of playing the Rakhine musical instruments such as the Rakhine Duelong Harp, bamboo pipes wind instrument, melodious small drum, hand-cymbals, cymbals၊ horn, long drum, Marlakhon fiddle, the bugle , the cymbal and the flute were sculpted as the ancient supporting evidences of Rakhine long drum on the western wall of the second tunnel of Shittaung pagoda.. Rakhine nationality mostly used long-drum. According to the ceremony, the drum which is used to celebrate pagoda festival is called Mu-Yoe Drum. Pan-taja drum is used for the wedding ceremony and the ceremony of propitiate nats. Khat- Ttin drum is used for the funeral ceremony . Si- Byaw( kind of long drum ) is used to play the novitiated ceremony. One- headed drum is used for ceremony of pulling gharry. Kyin-drum is used for the posture of wrestling. There are fourteen kinds of Rakhine drum. They are Mhyaut drum, Than-Lwin drum, Mu-Yoe drum ( Si-Pyaw ), Singal-headed small drum, Big drum (Shan si) , Donmin drum , Si Pataung drum, Si wun drum , Melodious small drum, One-headed drum, Pan:taya: si drum, Pat Si drum (Kyin si), Si chay drum, Si ai drum. According to the song, it can be played with hands. The song which produces the sound of Byane from cow skin and the sound of harp from goat skin. It can be played not only hand but also stick. Rakhine royal drum is played together with cymbals, gong, jingle bell and conch-shell.\nPadauk wood is used to make the body of Rakhine royal drum and the either sides of two drumheads are covered with cow-skin and goatskin. The Padauk wood has to made hollow and the either side of cow skin and goat skin are tightly stretched on the drum heads. Both two drumheads can be played. The leather must be tightly tied with the string of gunny twine.\n-2 feet 3 inches in Length\n-3 feet 5 inches in the girth\n-1 feet in the diameter of drumhead (site of cow skin)\n-11 inches in the diameter of drumhead ( site of goat skin)

The crocodile-shaped zither was one of musical instruments that Pyu delegation performed in China in AD 802 as part of cultural exchange programme. Michael Sign, one of members of Eastern India Company delegation visited King Bodaw Phaya in 1795, wrote about this musical instrument in his book. There are two types of crocodile zithers, of which one must be played with fingers and other with plectrum. The 3-stringed Crocodile Zither must be played with plectrum by strumming with the right hand, and fretting and plucking the strings with left hand. The first and third strings are tuned to LayPauk (Fourth Note), while the second string to ThanHman Tapauk (First Note).\nThe fine wood must be smeared with mud and left dry by itself. After it becomes well seasoned, it is curved into the shape of crocodile. The body must be made hollow. There is a sound hole underneath in which the sound is resonated. The three strings are stretched from its head to tail. There are two tuning pegs on the jaw of crocodile. The sound hole and the tuning pegs lie in different position. The strings are made of silk or nylon or alloy. Thirteen wooden frets are placed with the use of beeswax under the strings.\n-68 inches in length\n-7.5 inches in breadth\n-10.5 inches in height\n-17.5 inches in circumference

For making Danu War Chae Chaung, Da Nu master cuts a strip of bamboo into the necessary length and carves it into the shape of reed. Then, roads the carved reed and gives it a final touch. Perforate the bamboo on both sides and string it through the holes. Beeswax is applied inside the reed. Danu traditional bamboo reed instrument can be made into the desired size.

The traditional musical instruments of Myanmar were prominent throughout the nation’s history. The instruments were developed as early as the Pyu Era, Bagan Era and many were dominant features of music during the Innwa Era and Konbaung Era.\n\nWhile some of these instruments have been preserved and are used today, others have been lost to history.\nIn an attempt to preserve the traditional musical instruments of Myanmar, the Ministry of Culture displayed traditional instruments and distributed the books about the instruments during an exhibition in 1955. This research shows thirty-three kinds of instruments. Moreover, in a 2003 celebration of traditional instruments, the Ministry of Culture exhibited over two hundred traditional instruments at the national museum.\nWhile the instruments on display were representative of many regions and states, many instruments were not included.\nBecause of this lack of full representativeness, additional research through field studies is required. This project proposal addresses this need.\n\nTo create a preliminary basis towards developing a national ICH inventory of craftsmanship and performing arts of traditional musical instruments in Myanmar. To safeguard ICH related to the craftsmanship and performing arts of traditional musical instruments and to promote cultural diversity among multi- ethnic groups in Myanmar. To raise awareness of the Myanmar public on the importance of ICH. To expand networking and information sharing between Myanmar and Korea.

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

DVD2_NEPAL'S HEREDITARY MUSICIAN CASTES\n\nThe four hereditary musician castes of Nepal are Damai, Gandharba, Kapali, and Badi. The most visible of these are the Damai and the Gandharba musicians. The Kapali are temple musicians and the Badi are drum makers. Damai are required to play for the goddess of the ruling class and also to play at all types of ceremonies and rites of passage, such as weddings and Bratabhandha. They perform in a group known as a panchai baajaa, which is composed of nine musicians playing seven different musical instruments representing the five universal elements of earth, water, fire, air, and sky, of which all matter and living things are composed. The tyamko represents earth, the damaha represents water, the jhurma represents fire, the dholaki represents air, and the narasingaa, sahane, and karnal represent the sky. Panchai baajaa music is believed to keep the elements in balance and harmony and to result in therapeutic musical healing. The Gandharba or Gaine caste musicians traditionally travel from village to village and door to door singing bhajan (hymns), songs from the great Hindu epics, and karkha (historical songs of heroes and bravery), but also bring news. They accompany themselves by playing saarangi.

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

The bana is a three-string fiddle played by the Pardhans in this area of Madhya Pradesh and Chhattisgarh for their Gond patrons, to accompany their singing. According to Roderic Knight, this instrument is virtually unknown outside this region.

The goong is a plucked stringed instrumentmade of a bamboo section. Its two ends have nodes. Its length is eighty centimeters and its diameter is five to eight centimeters. In some places, people tie a dry gourd to this instrument to increase resonance. The goong can have from eight to eighteen strings, but nine to twelve strings is the most popular. Each string produces one sound. To play this instrument, the instrumentalist puts the bottom of this instrument against his stomach and puts the head of this instrument in front of him to create a 45˚ angle. Two little fingers support the instrument and the rest pluck it. The goong instrument is only for men. It imitates the sound of the gong set. While gongs are allowed to be played only in some special occasions, the goong instruments can be played in anywhere in the Central Highlands.

The chaudike is a string instrument. Chaudike songs are most popular in the northern part of Karnataka, especially near Dharwad, where goddess Yellamma is worshipped by millions of people. The songs are built around the story of Jamadagni and his wife Renuka. In Saundatti (Dharwad, Karnataka), Renuka is known as Yellamma. The rise of Renuka as a mother goddess was perhaps the result of a complex merging of numerous personalities and myths. Renuka is most popular among the lower castes, such as the Pariahs, who are the performers in this recording. The community of Devadasis performs rituals that include Chaudike songs at Renuka shrines. These songs tell the story of Jamadagni, Renuka, and their son Parashurama.

Lưu thủy trường is one of the series of six Bắc pieces belonging to the twenty principal musical pieces of Đờn ca tài tử art. It consists of thirty-two eight-bar phrases. Among the six Bắc pieces, Lưu thủy trường is considered the typical one played for opening Đờn ca tài tử performances. The tempo is moderate and musical characteristics are joyful and strong. This is a solo performance of the tranh (sixteen-string zither) performed by master musician Vĩnh Bảo—a famous teacher of Đờn ca tài tử in Ho Chi Minh City. The tranh is a plucked string instrument without a neck. It is made of wood and has rectangle-shaped resonator. On the surface, the bridge is put at one end and the pegs at the other end. The sixteen strings are typically tuned to a pentatonic scale and suspended over bridges and secured through a gauge, which is located in the middle. The gauge is not fixed and is adjusted to modify the sound and change the musical scale according to the piece. The players use the left hand to press the strings and the right hand to pluck the strings. It can be plucked by using fingernails or artificial nails made of metal, plastic, or tortoiseshell.

CD7_MUSIC OF BASTAR AND CHHATISGARH\n\nThe indigenous tribal communities of India belong to various language families. This selection of music comes from the region of what was known as Bastar and its surroundings but is today divided into the states of Madhya Pradesh and Chhattisgarh. \n\nThis album presents some samples of the music of the Maria, Muria, and Pardhans. These subgroups are part of the larger Gond family. Gondi and the related languages belong to the Dravidian family. It provides a glimpse into the intangible cultural heritage of the tribes of Central India. \n\nThese recordings were made between 1978 and 1982 by ethnomusicologist Roderic Knight. They provide a glimpse into the tribal communities, which are fast changing.

The Central Highlands include five provinces: Gia Lai, Kon Tum, Đắc Lắc, Đắc Nông, and Lâm Đồng. This place is the residence of many ethnic minorities speaking two languages, Mon-Khmer and Malayo Polinesian. Ba na, Xê đăng, Mnông, and Xtiêng speak Mon-Khmer while Ê đê, Gia rai, and Raglai speak Malayo Polinesian. Local people in the Central Highlands have a very rich treasure of folk music. In religious festivals, music plays a significant role. The instruments such as gongs, after being played in festivals, are stored. They are considered sacred instruments and the properties that reflect the wealth of a family. In addition to religious music, folk music for daily life is equally as rich and includes music for love exchange, music played on fields, or music played in community houses. Indigenous people of the Central Highlands have innate musical talent. It is supposed that every person can become a singer and an instrumentalist. They are able to make instruments skillfully from bamboo, leaves, and stones, and they can perform music naturally, simply, and purely. The CD, called Folk music of some ethnic minorities in the Central Highlands, Vietnam, introduces some folk musical acts performed in daily life. These acts were recorded between 1977 and 1978 (track 1, 5, 11) and between 1997 and 1998 (the rest of tracks) and performed by local folk artists from ethnic minorities Ê đê, Gia rai, Xê đăng, Mnông, and Ba na in the Central Highlands.

CD9_MUSIC OF TRADITIONAL THEATRE IN VIETNAM\n\nThe traditional theatre is an indispensable element in describing the appearance of traditional Vietnamese music. The forms of traditional Vietnamese theatre are mainly practiced by the Kinh ethnic group and some ethnic minorities such as Khơ me and Nùng. Two special forms of traditional theatre with long histories are Tuồng (classical drama) and Chèo (traditional operetta) of the Kinh group. These art forms gather many elements, including literature, painting, music, dance, and drama.Tuồng was born in northern Vietnam and performed in the court, and then followed mandarins to central and southern Vietnam with a new name Hát bội or Hát bộ. Tuồng was perfected and reached its peak in the Central Vietnam from the seventeenth century to the eighteenth century in the Nguyễn dynasty. Tuồng was performed not only in the court but also in common communities and was loved by common people. At the end of the nineteenth century and beginning of the twentieth century, Tuồng still played an important role in the spiritual life of Vietnamese people, especially to the people in central and southern Vietnam. Tuồng was one of a few traditional Vietnamese artistic types, loved by the court and common people.\n\nIn its flourishing period, the artists of Tuồng were categorized into two ranks, including Tuồng thầy artists (professinal artists who are knowlegeable and have exemplary performance style) and Tuồng rong artists (semiprofessional artists who lack of knowledge and have seasonal performances, mainly giving impromptu performances in tuồng cường. The system of Tuồng is clearly categorized according to the content such as Tuồng pho (Tuồng with many acts and performed on many nights), Tuồng đồ (Tuồng with content closer to daily life and based on folk stories), and Tuồng tân thời (Tuồng with the stories from new novels). Special Tuồng plays called Tuồng ngự were selected by the Minstry of Rites to be performed for for the king’s enjoyment.

CD2_HISTORICAL RECORDINGS FROM THE 1930S OF ARNOLD BAKE VOL. II: EVERYDAY SONGS\n\nThe recordings by Dutch ethnomusicologist Arnold Adrian Bake in India in the 1930s and later are one of the earliest examples of what may be called “ethnographic” recordings. Arnold Bake and his wife Corrie spent a long time in Bengal but travelled all over India, recording the music, sounds, and other forms of intangible culture of the people. These recordings cover an immense range of music and recitations that are part of people’s everyday lives, such as work songs, devotional pieces, and ritualistic performances, and include a high number of women’s songs and cultural expressions. Bake’s first field trip was in 1925 and his last was in 1955. During that time, he travelled not only to India but also to Nepal and Sri Lanka. Collections of Bake’s recordings are held in archives in the United Kingdom, Germany, and the United States. Recordings from 1925 to 1929 were on cylinders, and those from 1938 to 1939 were recorded on a machine called Tefifon. The collection that has been digitized for this project consists of the recordings made in 1938 and 1939. \n\nThe Tefi recordings were transferred to spools and deposited in ARCE in 1982. During those two years, Bake travelled from Sindh, the Gujarat coast, to Kerala, and thus the recordings are from Maharashtra, Karnataka, and Kerala. There are also recordings made in the Maldives and Sri Lanka. Thus, the selections presented on these albums are largely from the Southwest Coast of India. These recordings were chosen because they carry great historical value yet were not easily accessible until now. NB: The titles given by Arnold Bake have been retained. However, in the notes, places and names have been changed to reflect current designations – e.g. Canarese was changed to Kannada. Place names have also been modified to follow current spelling conventions.\n\nEveryday Songs - The everyday lives of people are what make up the core of intangible cultural heritage (ICH). This selection includes rituals, work songs, devotional and religious songs, as well as common songs that express joys and sorrows. In addition to songs, some tracks include cries and noises, reflecting the wide variety of sounds that Bake recorded.

Sounds that Run in the Vast Grasslands of Mongolia_Oral Traditions and Performing Arts in Mongolia\n\nSince the early 1950s, the Institute of Language and Literature at the Academy of Science (ILL) has been sending survey teams one to three times a year to research and gather data on oral literature and local dialectics. These activities set the groundwork for officially establishing a new archive with written documents and magnetic audio tapes that could be used for research purposes and be maintained. Preserved on magnetic tapes are languages and dialects that have gone extinct, have lost their distinctiveness, or have been adsorbed into other languages or dialects.\n\nHowever, most of the magnetic tapes being kept at the ILL are more than sixty years old, and the expiration date on many tapes has already lapsed. Also, improper storage conditions have caused some tapes to dry out, cling to one another, or fracture. For these reason, it would be hard to transmit to the next generation. Accordingly, since 2008, efforts have been made towards restoring and digitizing superannuated magnetic tapes within the internal capability and capacity of the ILL. The lack of training, finance, and proper tools and technical equipment has, nevertheless, created several obstacles and the digitizing results have not been very successful.\n\nAt this crucial state, the ILL introduced a cooperative request to the Foundation for the Protection of Natural and Cultural Heritage (FPNCH), and the FPNCH proposed that ICHCAP continue the joint project and take measures for restoring and digitizing superannuated magnetic tapes and distributing and disseminating the data among the general public. According to the above decision, the FPNCH and ICHCAP implemented the Joint Cooperation Project of Safeguarding Intangible Cultural Heritage by Using Information Technology from October 2011 to April 2012.\n\nAs the first stage of the project, the Expert Meeting for Safeguarding ICH by Using Information Technology was held in the Republic of Korea to exchange information with experts for digitizing and restoring the analogue data. The experts of Mongolian National Public Radio, the ILL, and the FPNCH started the project after sharing restoration and digitization knowledge with the Munhwa Broadcasting Corporation (MBC) of Korea, the National Archives of Korea, and the Korea Film Council.\n\nAs the main outcome of the project, a total of 715 hours of superannuated magnetic tapes including epics, folk tales, tales accompanied by the morin khuur, traditional arts, khuumei, chor, long and short folksongs, and traditional customs were restored, digitized, and categorized. Among them, 128 audio clips were selected and reproduced in a ten-CD collection called Sounds from the Mongolian Grasslands. The collection also includes a twenty-page handbook in English or Korean. Through this project, the general public’s, involved organizations’, and domestic and international experts’ awareness about Mongolian ICH increased, and the archive and music contents of regional ICH were strengthened.

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 25 is 'Pictures and Storytelling.'

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 37 is 'ICH and Water Management.'

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 35 is 'ICH and City Festivals.'

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 7 is 'ICH AND PUPPETRY.'