Afrikan combat arts and sciences are the very oldest in the world as Afrikan people are the first human beings in the world. According to Hamblin, “the oldest discovered cemetery in the Nile Valley at Jebel Sahaba in Nubia (northern Sudan)—broadly dated to roughly 12,000– 9000—provides the earliest evidence of tribal warfare, for roughly half of the 59 skeletons at site 117 had flint projectile points among the bones, probably indicating death in battle; some had evidence of multiple healed wounds, perhaps indicating repeated fighting” (2006, p. 32). This site has since been more accurately dated to between 13,140 and 14,340 years ago (Graham, 2016). At another massacre site at Nataruk in contemporary Kenya were found a mixture of people killed with blunt instruments, sharp pointed weapons, projectiles, and so on. According to Lahr , “Ten of the twelve articulated skeletons found at Nataruk show evidence of having died violently at the edge of a lagoon, into which some of the bodies fell. The remains from Nataruk are unique, preserved by the particular conditions of the lagoon with no evidence of deliberate burial” (2016, p. 2). Researchers at Nataruk also found:

Co-orgarnized by ICHCAP and Hue Monuments Conservation Centre (HMCC), this year’s Asia-Pacific ICH NGO Conference was held in Hue, Vietnam under the theme of ICH NGOs towards Sustainable Development of Communities.

Telugu language is the mother tongue for carriers and transmitters in safeguarding the Intangible Heritage of the Telugu people. We have come up with an interdisciplinary and innovative educational programming that safeguards our intangible heritage of over 53.6 million people in Andhra Pradesh (AP). Our higher educational programming cuts across the five domains delineated in the 2003 ICH Convention of UNESCO. It is an integral part of a systematic safeguarding plan that is unique. I will introduce the framework that enables us to bring together the teaching of intangible heritage in a linguistic environment through six tertiary educational institutions for the Telugu speaking people. I am responsible for the curricula, pedagogy, employment of carriers and transmitters as teachers and performance education in all the six colleges. \n\nWe also address the interface between intangible heritage and language through higher education. Moreover, I will also reflect on my own engagement as a carrier and transmitter of theatre traditions of the Telugu people. My conclusion would advocate that we need to think in new and innovative ways for safeguarding the rich diversity of the intangible heritage of humanity. Our innovative tertiary education programming provides a feasible role model.

"In a region as geographically immense and culturally diverse as the Pacific, intangible cultural heritage must be seen in terms of diverse worldviews, each with its own knowledge system and philosophy of life that structures and informs. This section addresses how intangible cultural heritage is reflected through specific cultural worldviews. As specific and unique as they are, however, each Pacific worldview can be seen as having a commonality structured by three dimensions: the spiritual, the physical, and the afterlife or ancestral realm. \nDespite their commonalities, the themes in this section still represent Pacific elements of knowing, philosophy, governance, and wisdom that sculpt life from vastly unique perspectives. The Tongan concept of heliaki, for instance, is not just a knowledge of language and prose, but rather a construct through which the Tongans build views about themselves and their interactions as well as the hierarchy within their society. In a similar way, Palauan place names are much more than words to mark locations; they are capsules of knowledge, events, and history that help the Palauan people identify themselves and their connections to one another. In these and the other themes in this section, the included values incorporate how the Pacific peoples perceive reality and interconnectedness and how their knowledge has shaped their worlds."

This article briefly presents a framework designed to gauge the level of vitality or endangerment of music traditions and suggests how the tool can be used to inform music safeguarding activities across contexts. The framework is the Music Vitality and Endangerment Framework (MVEF), developed and first presented in my book Music Endangerment: How Language Maintenance Can Help (Grant, 2014). The MVEF draws inspiration from various language vitality assessment tools, particularly UNESCO’s Language Vitality Framework (2003). In the absence of any such tool for gauging music vitality or endangerment across contexts, the MVEF was developed to fill this gap.

As it happens, Skaņumāja, a small non-governmental organization, has emerged as the current leader in submissions to the Latvian National Inventory of Intangible Cultural Heritage. Despite the extensive work that has been invested in writing these submissions, this was never the organization’s goal. It was rather our members’ interest in the practice of folklore and traditional music that gradually led to the evolution of deeper interest in Latvia’s waning instrumental musical traditions. This has now become our organization’s most important goal—what was once a hobby has become our principal mission. These non-classical instrumental traditions offer a wealth of material capable of diversifying the cultural landscape while also serving as resources for a range of cultural, extra-curricular, special, and lifelong educational, social work, and leisure and tourism-related production, all the while averting the loss of unique musical instruments, repertoires, and techniques.

The Republic of Korea has undertaken systematic efforts to safeguard intangible cultural heritage since enactment of the Cultural Heritage Protection Act in 1962 and implementation of the 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage in 2005. Korea has a long history of institutions for cultural heritage safeguarding. Korean ICH assets are basically protected under three government organizations known as Cultural Heritage Administration (CHA), Intangible Cultural Heritage Division of the Ministry of Culture, Sports and Tourism, and National Intangible Heritage Centre (NIHC) of Korea.A variety of national institutions have taken charge of transmission, promotion, education documenting and archiving ICH elements in consideration of their domains and characteristics. Those organizations are working collaboratively with each and many other ICH stake holders such as government and non-governmental organizations, education institutions, ICH holders and community people as well as foreign countries and international organizations in the safeguarding process of traditional music and dancing.

The artistic world of traditional culture of Central Asian peoples is determined by contents that lie in certain historical periods and, at the same time, remain outside history. Contemporary science allows us to study the originality of the art of people in Central Asia, which is important for an objective reconstruction of the general picture of the art’s evolution. Historical and social changes cannot be studied without a clear understanding of cultural integrity and the perception of the artistic laws of culture and its context in this or that socio-historical period.

Colombian cultural diversity is marked by its triethnic influence from European, indigenous, and African traditions, added to a strong regional division due to the geographical differences throughout its territory. One of those regions is found on the eastern side, called Llanos Orientales(eastern plains), whose traditions are also shared with Venezuela, with four main departments: Arauca, Casanare, Meta, and Vichada. The llano folklore is undoubtedly the main element that culturally identifies the Casanare department, and from this phenomenon is where the idiosyncrasy and feelings of the llanero people come. \n\nHowever, as is the case with all cultural phenomenon, it is not static and immutable. It is on the other hand, variable and mutable. Thus through time and from different economic, political, geographical, and religious circumstances, among others, the musical traditions have been presenting a series of changes and transformations that have been visible in each period of the region's history. In this historical process, specific stages can be identified where some musical instruments are presented as the soul of the llanos musical tradition, reaching what we commercially know today as the Llanero ensemble, namely: harp, cuatro, maracas, and bass. However, these instruments have not been the same throughout history.

Kanklės is certainly one of the most important symbols of the Lithuanian cultural identity as it had an important and symbolic role during the periods of national revival and the independence movements. The instrument itself and the tradition of playing on the kanklės underwent changes, transformations, experienced a revival, and in some sense even a “renewal.” \n\nIn the twentieth century, playing the kanklės moved from the country to the towns. It used to be exclusively a men’s tradition. Now this tradition has been taken over by women, and solo playing has been replaced by an ensemble playing. Playing on the traditional five to twelve-string kanklės does not require any special preparation. The instrument is easily keyed and portable. Even a beginner can play on it. Traditionally, teaching to play on the kanklės took place in families and communities. There are still players who took over the tradition from fathers or old musicians in villages. Nowadays, most of the performers acquire their playing skills in folk groups or music schools or during informal education activities.

It has been used for about 1000 years ago. Jade flute is proof that is excavated in Kan Su State,at china.\nThis flute was Kachin traditional instrument.\nBamboo joint that grows from hill-side cultivation is chopped and dried. It is perforated by using drill.\nThere are a total of 8 perforated holes including 6 finger holes, two vent holes for enunciation. The flute with no reed is called flute and the flute with reed is called whirling flute. It has to be blown from air holes and the finger holes are made for opening and closing to produce traditional melody. It has to be played together with oboe, drum, gong and cymbal. Pyi Htaung flute is played for all kinds of Manao house-warming ceremony, grating party and honorable ceremony.