Dassain symbolizes the victory of good/virtue prevailing over evil/falsity. It is the most important festival in Nepal. Since most of the Lotshampas (Southern Bhutanese) originated from Nepal, the southern Bhutanese celebrate it every year in September or in beginning days of October. The date of celebration varies every year which marked as per the Hindu calendar. According to Hindu Mythology, Dassain festival has been celebrated since Lord Ram and Goddess Durga had gotten the victory over Ravan and Mahisharura, the demons who had created terror in the Devaloka (the world where God reside.) consequently, the festival is a way of acknowledging triumph over an evil spirit.\n\nDassain is popularly a celebration within families lasting for 15 days starting from bright lunar fortnight to full moon (Hindu calendar) The days are divided for the activities starting from cleaning, washing to shopping. However, in Bhutan the official declaration of holiday is one day (day of Tika.) The community people explain that the significance of celebrating the festival with families is to honour the unity of Lord Ram’s Monkey army who helped him build the stone bridge to connect Lanka where Sita has been confined.

Dassain symbolizes the victory of good/virtue prevailing over evil/falsity. It is the most important festival in Nepal. Since most of the Lotshampas (Southern Bhutanese) originated from Nepal, the southern Bhutanese celebrate it every year in September or in beginning days of October. The date of celebration varies every year which marked as per the Hindu calendar. According to Hindu Mythology, Dassain festival has been celebrated since Lord Ram and Goddess Durga had gotten the victory over Ravan and Mahisharura, the demons who had created terror in the Devaloka (the world where God reside.) consequently, the festival is a way of acknowledging triumph over an evil spirit.\n\nDassain is popularly a celebration within families lasting for 15 days starting from bright lunar fortnight to full moon (Hindu calendar) The days are divided for the activities starting from cleaning, washing to shopping. However, in Bhutan the official declaration of holiday is one day (day of Tika.) The community people explain that the significance of celebrating the festival with families is to honour the unity of Lord Ram’s Monkey army who helped him build the stone bridge to connect Lanka where Sita has been confined.

Dassain symbolizes the victory of good/virtue prevailing over evil/falsity. It is the most important festival in Nepal. Since most of the Lotshampas (Southern Bhutanese) originated from Nepal, the southern Bhutanese celebrate it every year in September or in beginning days of October. The date of celebration varies every year which marked as per the Hindu calendar. According to Hindu Mythology, Dassain festival has been celebrated since Lord Ram and Goddess Durga had gotten the victory over Ravan and Mahisharura, the demons who had created terror in the Devaloka (the world where God reside.) consequently, the festival is a way of acknowledging triumph over an evil spirit.\n\nDassain is popularly a celebration within families lasting for 15 days starting from bright lunar fortnight to full moon (Hindu calendar) The days are divided for the activities starting from cleaning, washing to shopping. However, in Bhutan the official declaration of holiday is one day (day of Tika.) The community people explain that the significance of celebrating the festival with families is to honour the unity of Lord Ram’s Monkey army who helped him build the stone bridge to connect Lanka where Sita has been confined.

Zamirbek Bayaliev is a famous Kyrgyz manaschy,- a master narrator of the largest Kyrgyz epic, Manas.\n\nManas is an epic trilogy made of three works, “Manas,” “Semetey,” and “Seytek,” which represent three interconnected parts of epos created more than millennium ago. Manas is the epic hero who united scattered tribes into one Kyrgyz nation. Manas’ deeds were continued by his son, Semetey, and his grandson, Seytek. The trilogy became the immortal spirit and basic identity of the Kyrgyz people.\n\nThe Kyrgyz people did not preserve their written language; therefore, they attach great importance to the oral trilogy, which has preserved their historical memory.\n\nIn 2013, the Manas trilogy was inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity.\n\nThe Epic was also included to the Guinness Book of Records as the most voluminous epic in the world

As a UNESCO category 2 center, ICHCAP organized the youth ICH storytelling contest with the aim to support ICH safeguarding activities of young practitioners. Youth practitioners play an essential role, as ICH relies on direct transmission among community members. Their activities and involvement will hopefully contribute to raising awareness of ICH worth protecting. The story below won the Grand Prize of the 2019 Asia-Pacific Youth ICH Storytelling Contest. \n\n---------------------------------\nThe Hát Bội is Vietnamese intangible traditional performing art which has taken shape, developed during Vietnam history and is still preserved. The Hát Bội is form of traditonal opera which has a 500 old year long history of development in Vietnam. It contains features close to the culture in many other countries in Asia. My name is Anh Quan, I am sophomore of The Ho Chi Minh City University of Culture in Vietnam. \n\nWhen I started in junior high school, I had opportunity to study and enjoy The Hát Bội. These images, stage, eyes, gestures of The Hát Bội are so excited. But I strongly impress by artists’ face. This emotion is always with me in my thoughts. When I have been a student. Immediately, I go to The Ho Chi Minh city Hát Bội Theater to learn more about this art. Hát Bội relies on the principles of symbolization and stylization. These principles prodoundly influence Hát Bội typical dance/ gesture and makeup by which Hát Bội in distinguished from other traditional performing arts. Being the essences of Hát Bội, gesture and dance are perfomrmed based on several rules of symbolization and stylization with the aim of sophisticatedly expressing the feeling and emotion of characters and other implications of plays. These artists of Hát Bội have to understand very well about principles of symbolization and stylization and when they makeup and. Makeup is definitely the outward essence Hát Bội indicate the specific and personality of every character. The articial materials for making-up a disguise includes as followings: Multi-colours-lipsitcks, powder in multi-colors, the balckening-wax or the ash-like-black powder, the zinc-powder in golden-red– a mixture of the deep-red and golden powder, powder in blue, in green, and in yellow. With many special kinds of professional tools, such as: Tooth sticks, fingernail like kinife flat which look like a spoon – flat and made of wood.\n\nI observe artists makeup , I dream that i can makeup like them. I want to pursue my dream of being one of characters of Hát Bội. With the help of Thanh Bình Artist, I have fulfilled my dream. I feel virtuosity, sophistication and passion of Thanh Binh Artist when he makeup for me.\nThe face painting in an original feature in Hát Bội as well as in some forms of opera in Southeast Asia .The make-up in Hát Bội ( chiefly for male personages , rarely for female ones) includes three main parts : painting the complexion, drawing lines on the face and pasting false beards. There is nothing called the realistic things to identify but absolutely living - symbols in the art of the Hát Bội with its speical ways of disguiting for whole characters at all.\n \nLooking at the face makeup, the audiences can understand wether a character is good or bad, loyal or disloyal, etc. Below are some basic colour used in Hát Bội makeupnRed: Loyal, unyielding personnWhite: artful flatterernGreen: intelligent person or person with venturesome spirit or short lifenYellow: gentle and virtuous personnBlack: Furious and vigorous personnThat is the dialectics of the art of theatrical masks attained by masterly (mask makers, makeup, artist). nThe above special things may be generally get a common concept for us all to comprehend some intersted – things in many kinds of the characters and characteristics in traditional culture and art of the Hát Bội. \n\nThe Hát Bội has any characters. Currently, plays of Hát Bội are mainly performed at the temple (or shrine). The young generation do not strongly like the traditional art include The Hát Bội. Few young people are passionate about traditional art, this situation make the training for young people quite so difficult. For make youth generation learn more about The Hát Bội. Over the past years, The Ho Chi Minh city Hát Bội Theater has organized program called “The school stage” to introduce The Hát Bội to pupils and students.\n\nThis program around the content: history of formation and development of The Hát Bội, dance, and makeup art. Besides that, performance of historical topics, excerpts about children to raise patriotism, hope students have the opportunity to learn more about The Hát Bội. I think this working is very well for young people. That thing will make me and young people will love and have positive emotion with the traditonal stage. I hope The Ho Chi Minh city Hát Bội Theater always create other program to performance for community. To get deeply understanding about Hát Bội, warmly welcome to The Ho Chi Minh city Hát Bội Theater – Vietnam. I am so happy when I have chance to get experience and share excited valid content of The Hát Bội for every body. Vietnam also has so many traditonal arts. The Hát Bội is one of them. For protecting and delivering The Hát Bội, I think the young generation have to focus on studing intangible culture of country. I aslo contribute a little working for do that. I hope other young person will do that like me. I am going to keep my passion to learn more about traditonal of Vietnam also the other coutries over the world. Vietnam - a friendly destinaton always warmly welcome all of you, we have so many stories to talk with you. When you meet me together, I am going to “play” the Hát Bội for you. Because I really become “an actor” of The Hát Bội by my heart in my dream.

In the first October 2009 at Dubai, Unesco was held to provide a determination that batik is a World Cultural Heritage object belonging to Indonesia, the intangible of herritage.Danar Hadi Batik Museum is a private batik museum belongs to Mr. H. Santosa Doellah, he is the owner and the founder and now occupies as the President Director of Batik Danar Hadi Comapy. The museum was opened by Ms. Megawati Soekarno Putri on 20 October 2000.we use a storyline or theme by the title "batik the influence of time and environment" batik the impact of time and environment.It is precisely from the batik of the Keraton that actually the Intangible values was emerged, because the making of batik in the Palace was carried out by the Keraton's daughter, the king's wife, and the king's children. It is not only for daily needs, but also for the needs of a customary procession. So in making batik must be preceded by meditation, praying, fasting, so that batik patterns are formed.For the example, Truntum batik patterns. This truntum pattern was created during the reign of Pakubuwana III. At that time, Kanjeng Ratu Beruk who was the consort of Pakubawana III could not give the crown prince. So Pakubuwana III is returned to the Keputren. In her sadness, Kanjeng Ratu Beruk or her title is Kanjeng Ratu Kencana. She asked for the guidance for praying to Allah. After fasting for a long time in doing meditation, apprehensive, she suddenly wanted to make a batik.after a while Sunan Pakubuwana III attended at the Keputren to see Kanjeng Ratu Beruk in making batik. Then he was asked the name or motive of the pattern. But answered by Kanjeng Ratu Beruk "no idea" what it's called, he made batik just to forget his sadness and ask for guidance from God Almighty.The arrival of Pakubuwana III apparently continued with subsequent arrivals. When the batik is finished, Pakubuwana III is also touched by the perseverance and the spirit of Kanjeng Ratu Beruk to finish the cloth, So Pakubuwana III was asked Kanjeng Ratu Beruk to return to the palace. After giving thanks to God Almighty, Kanjeng Ratu Beruk returned to the palace and she named the Truntum, which means he reunited with Sunan Pakubuwanan III. It means reverberated Sunan's love for her and she hoped, it would be the last forever. Therefore, until now at the Javanese traditional wedding ceremony in Surakarta style, the Truntum pattern is always worn by the bride and bridegroom.

Worshiping the Mother Goddesses of the three realms-heaven, water, and mountains (or forests)-has been a cultural activity since the sixteenth century, significantly influencing the lives of Vietnamese people. In worshiping Mother Goddess Lieu Hanh (the "Mother of the World") and other spirits of legendary heroes, followers practice spirit possession rituals and traditional festivals.\n\nThese cultural expressions combine traditional costumes, music, and dance to help maintain the community's cultural heritage. Through interviews with spirit mediums, this video shows how belief in the Mother Goddesses have united and healed the community.

Muay Thai is the national sport of Thailand and a traditional martial art that excites audiences around the world. Although Muay Thai was originally a combat art developed for national defense, as peace prevailed it became over time a type of festive entertainment enjoyed by many. \n\nMuay Thai fighters train to manifest cosmic energy through body movements known as yantra and perform a ritual called wai khru before fights to express their gratitude to their instructors. This video shows the true meaning of Muay Thai and the spirit of the Thai people through aspects of Muay Thai training.

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

Intangible cultural heritage (ICH) is transnational in nature. It is necessary to spread the perception that ICH transcends geographical spaces and national borders, creating dynamic relations, connectedness, and continuity, which is why it is a timeless bearer of cultural diversity, the foundation of the heritage of humanity. However, as the modern structure of nation-state determines the boundaries of culture with national borders, forming the concept of “culture within the country”, subsequently led to the perception that the ownership of culture belongs to the state.\n\nThe concept of exclusive ownership of culture is often controversial in the UNESCO listing process, particularly in instances where cultural heritage and cultural domains have been shared for a long time by two or more nation-states. Such conflicts lead to excessive competition for nomination, overshadowing UNESCO’s fundamental purpose of contributing to peace and security in the world by promoting collaboration among nations, as well as the very spirit of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage that promotes international cooperation and assistance in the safeguarding of ICH as a matter of general interest to humanity.\n\nConsequently, UNESCO encourages multinational inscriptions of shared intangible cultural heritage to promote regional cooperation and international safeguarding activities, preventing conflicts among countries and coping with already existing ones. By emphasizing joint nominations of shared ICH, UNESCO revised its implementation guidelines three times to deal with conflicts between countries due to the cultural property rights. In addition, States Parties are encouraged to develop networks among relevant communities, experts, professional centres, and research institutes, particularly with regard to their ICH, to cooperate at the sub-regional and regional levels.\n\nAt the 13th Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage held in the Republic of Mauritius in November 2018, Traditional Korean Wrestling was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity as the first joint designation by the Democratic People’s Republic of Korea and Republic of Korea. This milestone in the life of the Convention demonstrates that ICH contributes to the peace-building, reconciliation, mutual understanding, and solidarity among peoples. Indeed, only when acknowledging that shared cultural values are empowering characteristics of ICH, the true perspective of the unifying agent of the cultural diversity can be achieved, and that it is the cornerstone of reaching peace among nations.\n\nCountries in the Asia Pacific region are deeply connected by a long history of interactions, exchanges, flows of people, goods, and ideas that have shaped shared values, practices, and traditions. Having a balanced view, advocating for cultural diversity, and recognizing the commonalities among individuals, communities, and countries as a strength are virtuous tenets in the present time.\n\nIn this regard, APHEN-ICH Secretariat, ICHCAP, and UNESCO Bangkok Office are inviting the APHEN-ICH member institutes and public to this seminar under the theme of Diversity and Distinctiveness: Looking into the Shared ICH in the Asia-Pacific, to re-assess that while fragile, intangible cultural heritage is an important factor in maintaining cultural diversity, connecting bounds, and enhancing international dialogue and peace.

CD4_NARRATIVE TRADITIONS – ORAL EPICS AND BALLADS VOL. I: THE TULU PADDANA\n\nOral epics, ballads, and narratives form a major part of the background of rituals, storytelling, and local mythologies – all an important part of the intangible cultural heritage of India. The vast range of oral epics in India, most often sung, also contain recitation and prose that explain the text. The meters vary greatly, and they all have different definitions and terms. For instance, the meter and singing of the Alha is called Alha Chhand. A wide variety of types of performances and expression of this genre exist. Some stories are narrated with scrolls that illustrate episodes. Sometimes, they are acted out, and sometimes sung, as in the case of the paddanas, which are performed while transplanting rice. Stuart Blackburn and Joyce Flueckiger distinguish three kinds of oral epics in India: martial, sacrificial, and romantic. Some epics tell a story with multiple episodes and characters, and some are “multi-story” oral epics. Oral epics in India are very closely tied to communities, with performers, audience, and participants all belonging to the same community. Most oral epics are associated to rituals, the performance of some being the ritual itself. Caste also plays an important role in the performance or patronage of the oral epic traditions in India. \n\nThe great epics of Ramayana and Mahabharata in some cases, enter the world of these local oral epics, where the performers are considered to be reincarnations of heroes and gods from these epics. According to Komal Kothari, an eminent folklorist of India, this phenomenon happens when the impact of the oral epic spreads beyond its initial local boundaries. Though we are not able to present full performances of all the oral epics, we believe that these recordings provide a good glimpse into the variety of meters, singing styles, and contexts that exist within these traditions. Three oral epics are presented in this volume. They are all part of larger collections, and each one is contributed by an expert on the genre who has done extensive research. The paddanas were contributed by Peter Claus, the Nanda Devi jagar by William Sax, and Alha by Karine Schomer.

Katta Ashula (a song performed with a plate) is specific to the Ferghana Valley of Uzbekistan. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, Katta Ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style. Katta Ashula developed from basic traditional events in history, from labour songs, and from different styles of ghazal verses. Usually, Katta Ashula is performed in big gatherings, festivities, and party celebrations.\n\nKatta Ashula songs were performed professionally and further developed by famous Khofizes such as Erkaqori Karimov, Turdiali Ergashev, Matbuva Sattorov, Jo'rakhon Sultonov, Mamurjon Uzoqov, Boltaboy Rajabov, Orif Alimakhsumov, Fattohkhon Mamadaliev, Jo' rakhon Yusupov, and Khamroqulqory To'raqulov. Today, Katta Ashula is masterfully performed by experienced singers with the highest skill, such as Khalima Nosirova, Munojot Yo'lchieva, Ismoil and Isroil Vakhobovs, and Mahmud Tojiboev.

Lapar performing arts, as an ancient folklore genre of people’s creation, has a rich history. Lapar songs are performed by famous artists during holidays, public festivities, and wedding parties as well as in a bride’s house in the evening during ‘Girls’ Evening’, ‘Girls’ Party’, and ‘Lapar Night’. Girls and boys perform Lapar songs composed of four-lined ghazals in two groups. Through Lapar songs, girls and boys express their love for each other, make decisions, and take oaths. They sing their heart’s grief with a certain melody but without any music. If both the girl and the boy who are singing Lapar fall in love with each other, they present gifts to one another. If the boys present flowers to girls, the girls present a kerchief, belt-kerchief, handkerchief, perfume, or some other gift.\n\nLapar songs are mainly composed of four-lined verses and are performed in the form of a dialogue between two parties. If they resemble o'lan songs from these features, they are distinguished by the ideas, literary references, descriptive objects, and the lifestyle that are sung in the lyrics- the level of thought is more highly developed by images. \n\nLapar songs were performed and became increasingly better known through the work of famous Lapar singers, such as Lutfikhonim Sarimsoqova, Tamarakhonim, Lizakhonim Petrosova, Gavkhar Rakhimova, Oykhon Yoqubova, Guishan Otaboyeva, To'khtakhon Nazarova, Qunduzkhon Egamberdiyeva, and others. To pay more attention to Lapar and o'lan songs, to collect them, to support the performers, and to publicise their creative work to the broader community, the Traditional Republican Festival of Lapar and O'lan performers is regularly conducted by the Republican Scientific and Methodological Center of Folk Art under the Ministry of Culture and Sports of the Republic of Uzbekistan.\n\n\n\n

O`lan is a genre of people's oral creation. Mainly, it is performed by women with or without doira accompaniment. At Uzbek parties and celebrations, the O`lan is sung by a girls' team on one side and a boys' team on the other side, or it is sung by two people who take opposing sides so they can perform as though they are having a dialogue.\n\nYor-yor is a folk song performed at a wedding celebration when the bride is seen off. In ancient times, it was widespread among Uzbek, Tajik, Uygur, and Turkmen people. Yor-yor consists of two or four lines; at the end or in the middle of each line are the words 'yor-yor, aylanaman' (my beloved one, I am enchanted). Usually, yor-yor is accompanied by doira music performed by women. The high effect of yor-yor is that it simultaneously harmonises sadness with a merry melody, tone, and the mood of holiday joys. In yor-yor songs, the bride's features, wishes, cherished dreams, and congratulations to her are praised. \n\nThe Republican Scientific and Methodological Center of Folk Art under the Ministry of Culture and Sports of the Republic of Uzbekistan, in cooperation with the National Commission of the Republic of Uzbekistan for UNESCO, organised an expedition to Ferghana Valley to research and classify intangible cultural heritage samples as well as to inventory and define the bearers of this heritage. The expedition team recorded samples of O'lan songs from ICH bearers and transmitters of intangible cultural heritage, including Xayrullo Mirzayev, Hanifa Mirzayeva, Inoyat Rafiqova, Makhbuba Yo'ldosheva, Baxtiyor Turg'unov, Zebikhon Abdunazarova, Ko'paysin Oqboyeva, and Qo'zikhon Siddiqova.

Audio and Video Materials Collected from the Onsite Survey in the Ferghana Valley_2012 Uzbekistan-ICHCAP Joint Cooperation Project of Producing Digital Contents on ICH\n\nThe glorious intangible cultural heritage (ICH) of Ferghana Valley encompassing the state of Ferghana, Andijion, and Namangan in Uzbekistan includes oral traditional, performing arts, traditional rites and festive events, and traditional crafts. However, this heritage is largely unknown to the public in the nation and abroad, and it is fading out even more rapidly due to the young generation’s lack of interest.\n\nSince 2011, the four Central Asian countries, including Uzbekistan, have been implementing a three-year project, Facilitating ICH Inventory-Making by Using Online Tools for ICH Safeguarding in the Central Asian Region as a Central Asia–ICHCAP cooperative project. In the framework of the project, the countries have collected ICH information and tried to build an online system for managing the collected information.\n\nIn Uzbekistan, the Republican Scientific and Methodological Centre of Folk Art, under the Ministry of Culture and Sports of the Republic of Uzbekistan, in collaboration with the National Commission of the Republic of Uzbekistan for UNESCO, implemented the three-year project. They collected information on ICH elements in the Ferghana Valley (Andijan, Namangan, and Ferghana regions), Zarafshan Oasis and Southern Uzbekistan (Jizzakh, Samarkand, Kashkadarya, and Surkhandarya regions), and the Republic of Karakalpakstan (Navoi, Bukhara, and Khoresm regions) through onsite surveys from 2012 to 2014.\n\nIn 2012 when the first onsite survey was concluded, Uzbekistan and ICHCAP selected representative materials among collected videos, audios, and photos on ICH elements and ICH bearers, and compiled the materials as a ten-CD/DVD collection. Also, booklets in English, Uzbek, and Korean were made to spread related information to a wider audience.\n\nFerghana Valley is also home to Tajikistan, Uighers, and Turkistan. In the other words, different traditions co-exist in the same place. ‘Katta Ashula’, which integrates arts, songs, music, and epics, is one Uzbek cultural heritage representing the identities of the diverse people live in the valley\n\nThe collection could preserve the disappeared and disconnected ICH and encourage increased mutual understanding and communication by spreading the information widely from the experts to the people.

Due to the countless reasons affect the intangible cultural heritage of Mongolia, number of heritage elements are on the very brim of extinction. Therefore, establishing concrete and inclusive system for the safeguarding of the ICH is crucial in Mongolia.\nOne of the measures taken by various stakeholders for the protection of ICH as well as development of overall safeguarding capacity of ICH was the Mongolian-Korean Joint Cooperation Project ‘Establishing a Safeguarding System for ICH in Mongolia’. This project was launched in 2008 by Mongolian National Commission for UNESCO. By the implementation of the first-phase activities under the framework of the Project, a number of meetings were held among the Project partners, implementers and coordinators.\n\nWithin the framework of the second-phase of the Project:\n- Continuation of field surveys in other regions, including Central, Eastern and Gobi aimags\n- Organization of the symposium and workshop on the issues of intangible cultural heritage and safeguarding thereof\n- Elaboration of tentative list of ICH and its bearers\n- Text preparation of guidebook of ICH in Mongolia were planned to be implemented respectively

Lialiaci is a publication of the iTaukei Institute of Language and Culture, Ministry of iTaukei Affairs. Lialiaci means to ponder or reflect upon deeply. \nThat is the intent of these articles and perspectives on culture.

Pacific islanders have been dealing with changing environmental factors for centuries. Adapting to change is part of Pacific lifestyles, and traditional knowledge, values, and practices—or intangible cultural heritage—underpins the ability of Pacific communities to live successfully and thrive in their environment. In this brief brochure, a publication by the UNESCO Office in Apia and ICHCAP, we learn how intangible cultural heritage, along with other scientific knowledge, may enhance the communities’ resilience against natural disasters and climate change. The following examples relating culture and sustainable environments are included in the brochure:\n\n- Traditional Navigation Systems\n- Environmental Resource Management\n- Vernacular Architecture\n- Social Cohesion, Networks, and Cooperation

Together with the UNESCO National Commissions in the Central Asia, the Seventh Central Asi Sub-regional Meeting on the Safeguarding of Intangible Cultural Heritage was held between 16 and 18 May at Dushanbe, Tajikistan.\n\nThe report includes papers of the thematic symposium on Sacred Cultural Spaces, Safeguarding ICH and Enhancing Identity and country reports.