According to history, the Layang Mas dance was created when the Raja of Perlis sent tribute payment to the Siamese government by riding on an elephant, when the state of Perlis was under Siamese rule. At that time the elephant caretaker called Tok Jambul, with his friend Ecan, composed the song ‘Layang Mas’. Upon returning from Siam they created the ‘Layang Mas’ dance, one of the dances in the Terinai dance repertoire. This court dance that can only be performed by ladies only uses lots of gliding hand movements and with a number of turns, clear shoulder moves and hip movements. The dance also uses a long shawl tied on the waist with a belt, held by the thumbs and fore fingers, and often portrayed as a bird’s wings.

Dances in Fanpai are normally accompanied by the lusheng (a musical instrument with multiple bamboo pipes), mangtong (a single-bamboo free reed wind instrument) and wooden drums. Among various dances, the Wooden Drum Dance is the most popular among both performers and audiences.\nWooden Drum Dance shows are usually held in the village square. The dance opens with an intense, well-arranged and energetic drumbeat to which young men and women, wearing gorgeous Miao costumes, swing and sway. The dance features powerful, wild and primitive movements and an imposing style, reflecting the indomitable will and tenacious life force of the Miao people in this mountainous area. It is hard for people today to comprehend the fact that such a grand art form was created by Miao ancestors who were just ordinary farmers.\n\nNote : The text above is an excerpt from the article provided by the China Culture (http://en.chinaculture.org/)

A kind of traditional children game similar to swing, performed by girls. It is played more in the Navruz celebration.

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

Wheat harvesting was also in full swing at the famous tourist destination of Nubra Valley. Men and women reaped wheat together and sang a variety of songs.

The early history of the Nagas is shrouded in obscurity and many theories abound of their origin  and  migration.  How  and  when  they  came  to  settle  in  the  north‐eastern  region  of India is an unsettled question. \nSeveral  traditions  exist  within  the  multi‐ethnic  Naga  communities  on  their  origins. \nAccording to the oral traditions passed down through songs, folklore and word of mouth the Ao emerged from six stones at Long‐terok, which exists to this day near Chungliyimti, the first legendry settlement of the Ao. ‘Long’ meaning stone and ‘Terok’ six, refers to the six stones from which emerged three pairs of male and female progenitors whom the Ao claim  to  be  their  ancestors.  The  Ao  is  distinguished  with  two  phratries  –Chongli  and Mongsen. The Chongli claim  that the  three males and  females who emerged at Longtrok were Tongpok and his sister Lendina, Longpok with his sister Yongmenala and Longjakrep with  his  sister  Elongshe.  They  were  the  first  human  beings  who  emerged  at  Longtrok. \nEach  male  member  along  with  his  sister  formed  the  three  phratries  of  the  Chongli. \nTongpok founded the Imsong‐Pongen clan, Longpok the Longkumer clan and Longjakrep with  his  sister  founded  the  Jamir  clan  respectively.  The  three  siblings  intermarried  and through  these  marriages,  the  Ao  clans  came  into  existence  and  a  well‐  knitted  clan exogamy marriage evolved that is followed to this day. 

ICHCAP published the book Living Heritage Series – Traditional Musical Instruments in collaboration with the ICH NGO Forum’s #HeritageAlive.\n\nProven from a long history, music shares thoughts and emotions among community members who play the instruments and enjoy it. This book was made with the contributions of fifteen writers from countries across the globe. The authors describe the current status of traditional music and provide insight on how to revitalize these traditions based on the 2003 Convention.

Based on the ICHCAP Field Survey on Intangible Cultural Heritage Safeguarding Efforts in some South Asian countries (2010–2013), this summary provides a brief overview on the ICH situation in Nepal, Bhutan, Bangladesh, Pakistan, and Sri Lanka . 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. Some information on the ICH safeguarding status of Pakistan is updated, based on Periodic Report No.00794/Pakistan on the implementation of the Convention and on the status of elements inscribed on the RL submitted to UNESCO on December 2012. \n\nThis survey report offers a large sample of the diverse ICH situations in South Asian countries. Each country has a different background on the issue of intangible heritage. Although all the participating countries are concerned about the threats facing ICH, most of the countries participating in the survey haven’t defined the ICH and haven’t established national ICH lists and/or ICH inventories.However, each country expresses a high degree of motivation and encouragement for safeguarding o ICH, sharing experiences, and cooperating internationally. A common point noticed among them is that they tend to pay more attention to traditional performing arts in comparison to other ICH domains. Apart from the main subject, information on the situation of intellectual property related to ICH safeguarding in each country is included. However, this issue is very briefly reflected, so it is necessary to go through the ICHCAP Field Survey on Intellectual Property Issues in the Process of ICH Information Building and Information Sharing (2011–2012) to obtain more comprehensive and concrete information on this topic.\n\n-Ratified the ICH Convention in 2005; conducted survey in 2010.\n-As of April 2013, has one element on the RL of UNESCO and no accredited NGOs.

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.'