Even though I don’t belong to any of the native tribes in Bukidnon (my parents were migrants), I have always considered myself as a native. Until I started college, this is the only place I have ever lived in. My home is that of small towns and tight-knit neighborhoods. We are known for our agricultural produce and green mountains instead of high-rise buildings and a bustling nightlife. Seeing a cow, a goat or a horse on the side of the road is normal. Mornings are still filled with sounds of roosters and robins. It’s not that we have been left behind by the modern times, it’s that we are trying to grow without losing our roots.\n\nBukidnon is located on the southern part of the Philippines. In a country known for its hot weather, coveted beaches, and frankly terrible traffic in the capital city, we’re a landlocked province on the island group of Mindanao, thriving in the cool mountains instead. Bukidnon literally translates to “mountain dweller”. And I think we dwell here just fine.\n\nEvery February to March, our province celebrates the Kaamulan Festival, an ethnic festival celebrating the seven Lumad (indigenous people) tribes of Bukidnon. It is the only authentic ethnic festival in the country. The Bukidnon, Higaonon, Talaandig, Manobo, Matigsalug, Tigwahanon, and Umayamnon have inhabited the province long before the Spanish colonization. Even though the tribes have assimilated into modern society they have still retained their ancient practices. However, every year, it seems like the true essence of the festival is getting more and more lost. The advent of commercialization and tourism has placed the Lumad tribes in the background of the Kaamulan Festival. The month-long celebration has been recently defined by bringing in celebrities and politicians from the capital, a grandiose fireworks display, and appropriation of Lumad culture. In a festival that was supposed to celebrate the original dwellers of our home, they were put at the periphery.\n\nJust a few days ago, I visited a Talaandig community in the municipality of Lantapan to witness and participate in a river ritual called Panalawahig. It wasn’t my first time participating in a Lumad ritual, but it was my first time seeing it conducted by and on the river. I decided to do this because I wanted to document an authentic Lumad practice without the meddlesome politicians and their sleazy speeches.\n\nThe Lumads conduct a ritual for many reasons and occasions. But all of them have the intention of asking for guidance and protection from nature spirits and Magbabaya (God). The river ritual called Panalawahig, which took place last Friday, was to start the annual Talaandig Day and Indigenous Peoples Month celebration. The ritual requires offerings to the spirits, the most notable offering being native chickens. Their blood is spilled on the ground and the altar for the spirits; and they are cooked for the Panampulot, a feast where spirits are invited to partake.\n\nMy major takeaway from my short time with the Talaandig community was their graceful persistence to go on with life despite their collective struggle. Indigenous peoples sustainably manage about 50% of the world’s lands but have legal ownership rights to only 10%. They are also among the most vulnerable groups in the Philippines, and indigenous groups in my country are often killed and driven away from their ancestral lands by big corporations, paramilitary, and military. When Lumads and their allies go to the streets to protest for human rights, they are often mocked. And yet, despite all of these, they still insist to live as they always have. And why shouldn’t they? Long before strongmen regimes and oppressive systems have emerged, they were already here. And they should continue to be here.\n\nThe Talaandig and the other Lumad tribes have a rich and diverse culture. You see it in their traditional clothes with vivid colors and intricate patterns. You marvel at their visual artwork; how even a house built out of bamboo could look like something out of a whimsical fantasy movie, and how soil becomes a masterpiece in a canvas. You hear it in their music, the deep beat of the ethnic drums and the liveliness of their Binukid chants awakening the dormant dancer inside you. You feel it the moment you step foot on their ancestral lands, their solemn reverence and respect to nature apparent in their way of life. They only take what they need, and they never fail to give back. And yet they are often stereotypically labeled as the “uncivilized” when it was them who have been doing it right all along.\n\nWe are so obsessed with the idea of progress and development but is it really progress and development when it is at the expense of others? I want the kind of progress and development that does not shed the blood of the Lumads and take away their homes. I want the kind of progress and development that does not treat them as second-class citizens.\n\nWhen we were preparing to go to the river for the ritual, I heard one of the women say she’s bringing her young grandson. “Ato siyang i-uban. Dapat makabalo siya na nitibo ta.” We are bringing him with us. He should know that we are natives. I want Lumad kids to have a bright future to look forward to. I want them to freely practice their way of life, their art, music, and dances without fear of any of these being taken away from them.\n\nWhenever people from other places come to Bukidnon, I want them to know the mountains they came here to climb and the species that dwell in it are still thriving because of the Lumads, the ancient guardians of the forest.\n

Even though I don’t belong to any of the native tribes in Bukidnon (my parents were migrants), I have always considered myself as a native. Until I started college, this is the only place I have ever lived in. My home is that of small towns and tight-knit neighborhoods. We are known for our agricultural produce and green mountains instead of high-rise buildings and a bustling nightlife. Seeing a cow, a goat or a horse on the side of the road is normal. Mornings are still filled with sounds of roosters and robins. It’s not that we have been left behind by the modern times, it’s that we are trying to grow without losing our roots.\n\nBukidnon is located on the southern part of the Philippines. In a country known for its hot weather, coveted beaches, and frankly terrible traffic in the capital city, we’re a landlocked province on the island group of Mindanao, thriving in the cool mountains instead. Bukidnon literally translates to “mountain dweller”. And I think we dwell here just fine.\n\nEvery February to March, our province celebrates the Kaamulan Festival, an ethnic festival celebrating the seven Lumad (indigenous people) tribes of Bukidnon. It is the only authentic ethnic festival in the country. The Bukidnon, Higaonon, Talaandig, Manobo, Matigsalug, Tigwahanon, and Umayamnon have inhabited the province long before the Spanish colonization. Even though the tribes have assimilated into modern society they have still retained their ancient practices. However, every year, it seems like the true essence of the festival is getting more and more lost. The advent of commercialization and tourism has placed the Lumad tribes in the background of the Kaamulan Festival. The month-long celebration has been recently defined by bringing in celebrities and politicians from the capital, a grandiose fireworks display, and appropriation of Lumad culture. In a festival that was supposed to celebrate the original dwellers of our home, they were put at the periphery.\n\nJust a few days ago, I visited a Talaandig community in the municipality of Lantapan to witness and participate in a river ritual called Panalawahig. It wasn’t my first time participating in a Lumad ritual, but it was my first time seeing it conducted by and on the river. I decided to do this because I wanted to document an authentic Lumad practice without the meddlesome politicians and their sleazy speeches.\n\nThe Lumads conduct a ritual for many reasons and occasions. But all of them have the intention of asking for guidance and protection from nature spirits and Magbabaya (God). The river ritual called Panalawahig, which took place last Friday, was to start the annual Talaandig Day and Indigenous Peoples Month celebration. The ritual requires offerings to the spirits, the most notable offering being native chickens. Their blood is spilled on the ground and the altar for the spirits; and they are cooked for the Panampulot, a feast where spirits are invited to partake.\n\nMy major takeaway from my short time with the Talaandig community was their graceful persistence to go on with life despite their collective struggle. Indigenous peoples sustainably manage about 50% of the world’s lands but have legal ownership rights to only 10%. They are also among the most vulnerable groups in the Philippines, and indigenous groups in my country are often killed and driven away from their ancestral lands by big corporations, paramilitary, and military. When Lumads and their allies go to the streets to protest for human rights, they are often mocked. And yet, despite all of these, they still insist to live as they always have. And why shouldn’t they? Long before strongmen regimes and oppressive systems have emerged, they were already here. And they should continue to be here.\n\nThe Talaandig and the other Lumad tribes have a rich and diverse culture. You see it in their traditional clothes with vivid colors and intricate patterns. You marvel at their visual artwork; how even a house built out of bamboo could look like something out of a whimsical fantasy movie, and how soil becomes a masterpiece in a canvas. You hear it in their music, the deep beat of the ethnic drums and the liveliness of their Binukid chants awakening the dormant dancer inside you. You feel it the moment you step foot on their ancestral lands, their solemn reverence and respect to nature apparent in their way of life. They only take what they need, and they never fail to give back. And yet they are often stereotypically labeled as the “uncivilized” when it was them who have been doing it right all along.\n\nWe are so obsessed with the idea of progress and development but is it really progress and development when it is at the expense of others? I want the kind of progress and development that does not shed the blood of the Lumads and take away their homes. I want the kind of progress and development that does not treat them as second-class citizens.\n\nWhen we were preparing to go to the river for the ritual, I heard one of the women say she’s bringing her young grandson. “Ato siyang i-uban. Dapat makabalo siya na nitibo ta.” We are bringing him with us. He should know that we are natives. I want Lumad kids to have a bright future to look forward to. I want them to freely practice their way of life, their art, music, and dances without fear of any of these being taken away from them.\n\nWhenever people from other places come to Bukidnon, I want them to know the mountains they came here to climb and the species that dwell in it are still thriving because of the Lumads, the ancient guardians of the forest.

Even though I don’t belong to any of the native tribes in Bukidnon (my parents were migrants), I have always considered myself as a native. Until I started college, this is the only place I have ever lived in. My home is that of small towns and tight-knit neighborhoods. We are known for our agricultural produce and green mountains instead of high-rise buildings and a bustling nightlife. Seeing a cow, a goat or a horse on the side of the road is normal. Mornings are still filled with sounds of roosters and robins. It’s not that we have been left behind by the modern times, it’s that we are trying to grow without losing our roots.\n\nBukidnon is located on the southern part of the Philippines. In a country known for its hot weather, coveted beaches, and frankly terrible traffic in the capital city, we’re a landlocked province on the island group of Mindanao, thriving in the cool mountains instead. Bukidnon literally translates to “mountain dweller”. And I think we dwell here just fine.\n\nEvery February to March, our province celebrates the Kaamulan Festival, an ethnic festival celebrating the seven Lumad (indigenous people) tribes of Bukidnon. It is the only authentic ethnic festival in the country. The Bukidnon, Higaonon, Talaandig, Manobo, Matigsalug, Tigwahanon, and Umayamnon have inhabited the province long before the Spanish colonization. Even though the tribes have assimilated into modern society they have still retained their ancient practices. However, every year, it seems like the true essence of the festival is getting more and more lost. The advent of commercialization and tourism has placed the Lumad tribes in the background of the Kaamulan Festival. The month-long celebration has been recently defined by bringing in celebrities and politicians from the capital, a grandiose fireworks display, and appropriation of Lumad culture. In a festival that was supposed to celebrate the original dwellers of our home, they were put at the periphery.\n\nJust a few days ago, I visited a Talaandig community in the municipality of Lantapan to witness and participate in a river ritual called Panalawahig. It wasn’t my first time participating in a Lumad ritual, but it was my first time seeing it conducted by and on the river. I decided to do this because I wanted to document an authentic Lumad practice without the meddlesome politicians and their sleazy speeches.\n\nThe Lumads conduct a ritual for many reasons and occasions. But all of them have the intention of asking for guidance and protection from nature spirits and Magbabaya (God). The river ritual called Panalawahig, which took place last Friday, was to start the annual Talaandig Day and Indigenous Peoples Month celebration. The ritual requires offerings to the spirits, the most notable offering being native chickens. Their blood is spilled on the ground and the altar for the spirits; and they are cooked for the Panampulot, a feast where spirits are invited to partake.\n\nMy major takeaway from my short time with the Talaandig community was their graceful persistence to go on with life despite their collective struggle. Indigenous peoples sustainably manage about 50% of the world’s lands but have legal ownership rights to only 10%. They are also among the most vulnerable groups in the Philippines, and indigenous groups in my country are often killed and driven away from their ancestral lands by big corporations, paramilitary, and military. When Lumads and their allies go to the streets to protest for human rights, they are often mocked. And yet, despite all of these, they still insist to live as they always have. And why shouldn’t they? Long before strongmen regimes and oppressive systems have emerged, they were already here. And they should continue to be here.\n\nThe Talaandig and the other Lumad tribes have a rich and diverse culture. You see it in their traditional clothes with vivid colors and intricate patterns. You marvel at their visual artwork; how even a house built out of bamboo could look like something out of a whimsical fantasy movie, and how soil becomes a masterpiece in a canvas. You hear it in their music, the deep beat of the ethnic drums and the liveliness of their Binukid chants awakening the dormant dancer inside you. You feel it the moment you step foot on their ancestral lands, their solemn reverence and respect to nature apparent in their way of life. They only take what they need, and they never fail to give back. And yet they are often stereotypically labeled as the “uncivilized” when it was them who have been doing it right all along.\n\nWe are so obsessed with the idea of progress and development but is it really progress and development when it is at the expense of others? I want the kind of progress and development that does not shed the blood of the Lumads and take away their homes. I want the kind of progress and development that does not treat them as second-class citizens.\n\nWhen we were preparing to go to the river for the ritual, I heard one of the women say she’s bringing her young grandson. “Ato siyang i-uban. Dapat makabalo siya na nitibo ta.” We are bringing him with us. He should know that we are natives. I want Lumad kids to have a bright future to look forward to. I want them to freely practice their way of life, their art, music, and dances without fear of any of these being taken away from them.\n\nWhenever people from other places come to Bukidnon, I want them to know the mountains they came here to climb and the species that dwell in it are still thriving because of the Lumads, the ancient guardians of the forest.

Even though I don’t belong to any of the native tribes in Bukidnon (my parents were migrants), I have always considered myself as a native. Until I started college, this is the only place I have ever lived in. My home is that of small towns and tight-knit neighborhoods. We are known for our agricultural produce and green mountains instead of high-rise buildings and a bustling nightlife. Seeing a cow, a goat or a horse on the side of the road is normal. Mornings are still filled with sounds of roosters and robins. It’s not that we have been left behind by the modern times, it’s that we are trying to grow without losing our roots.\n\nBukidnon is located on the southern part of the Philippines. In a country known for its hot weather, coveted beaches, and frankly terrible traffic in the capital city, we’re a landlocked province on the island group of Mindanao, thriving in the cool mountains instead. Bukidnon literally translates to “mountain dweller”. And I think we dwell here just fine.\n\nEvery February to March, our province celebrates the Kaamulan Festival, an ethnic festival celebrating the seven Lumad (indigenous people) tribes of Bukidnon. It is the only authentic ethnic festival in the country. The Bukidnon, Higaonon, Talaandig, Manobo, Matigsalug, Tigwahanon, and Umayamnon have inhabited the province long before the Spanish colonization. Even though the tribes have assimilated into modern society they have still retained their ancient practices. However, every year, it seems like the true essence of the festival is getting more and more lost. The advent of commercialization and tourism has placed the Lumad tribes in the background of the Kaamulan Festival. The month-long celebration has been recently defined by bringing in celebrities and politicians from the capital, a grandiose fireworks display, and appropriation of Lumad culture. In a festival that was supposed to celebrate the original dwellers of our home, they were put at the periphery.\n\nJust a few days ago, I visited a Talaandig community in the municipality of Lantapan to witness and participate in a river ritual called Panalawahig. It wasn’t my first time participating in a Lumad ritual, but it was my first time seeing it conducted by and on the river. I decided to do this because I wanted to document an authentic Lumad practice without the meddlesome politicians and their sleazy speeches.\n\nThe Lumads conduct a ritual for many reasons and occasions. But all of them have the intention of asking for guidance and protection from nature spirits and Magbabaya (God). The river ritual called Panalawahig, which took place last Friday, was to start the annual Talaandig Day and Indigenous Peoples Month celebration. The ritual requires offerings to the spirits, the most notable offering being native chickens. Their blood is spilled on the ground and the altar for the spirits; and they are cooked for the Panampulot, a feast where spirits are invited to partake.\n\nMy major takeaway from my short time with the Talaandig community was their graceful persistence to go on with life despite their collective struggle. Indigenous peoples sustainably manage about 50% of the world’s lands but have legal ownership rights to only 10%. They are also among the most vulnerable groups in the Philippines, and indigenous groups in my country are often killed and driven away from their ancestral lands by big corporations, paramilitary, and military. When Lumads and their allies go to the streets to protest for human rights, they are often mocked. And yet, despite all of these, they still insist to live as they always have. And why shouldn’t they? Long before strongmen regimes and oppressive systems have emerged, they were already here. And they should continue to be here.\n\nThe Talaandig and the other Lumad tribes have a rich and diverse culture. You see it in their traditional clothes with vivid colors and intricate patterns. You marvel at their visual artwork; how even a house built out of bamboo could look like something out of a whimsical fantasy movie, and how soil becomes a masterpiece in a canvas. You hear it in their music, the deep beat of the ethnic drums and the liveliness of their Binukid chants awakening the dormant dancer inside you. You feel it the moment you step foot on their ancestral lands, their solemn reverence and respect to nature apparent in their way of life. They only take what they need, and they never fail to give back. And yet they are often stereotypically labeled as the “uncivilized” when it was them who have been doing it right all along.\n\nWe are so obsessed with the idea of progress and development but is it really progress and development when it is at the expense of others? I want the kind of progress and development that does not shed the blood of the Lumads and take away their homes. I want the kind of progress and development that does not treat them as second-class citizens.\n\nWhen we were preparing to go to the river for the ritual, I heard one of the women say she’s bringing her young grandson. “Ato siyang i-uban. Dapat makabalo siya na nitibo ta.” We are bringing him with us. He should know that we are natives. I want Lumad kids to have a bright future to look forward to. I want them to freely practice their way of life, their art, music, and dances without fear of any of these being taken away from them.\n\nWhenever people from other places come to Bukidnon, I want them to know the mountains they came here to climb and the species that dwell in it are still thriving because of the Lumads, the ancient guardians of the forest.

Sau-Batar is one of Timor-Leste’s most cherished agricultural ceremonies, marking the successful harvesting of corn—batar, the staple crop that lies at the heart of both sustenance and spiritual life for many communities. Far more than an agricultural routine, this ritual reflects a worldview where nature, ancestors, and community are deeply intertwined.\n\nThe ceremony typically begins with a symbolic act called “taking out the old corn and bringing in the new.” This signifies a transition between agricultural cycles and expresses gratitude to the spirits of the land for their blessings. Families gather at their sacred houses (uma lulik), bringing both harvested corn and cooked rice to share in a ritual meal that reaffirms communal bonds.\n\nCentral to the ritual is the lia-nain—a customary elder responsible for oral tradition and ritual practice—who recites prayers, chants, and invocations handed down through generations. These words are not merely spoken; they are believed to activate ancestral protection and ensure future abundance. The corn offered during the ceremony becomes sacred, often preserved in specially designated granaries or placed on altars within the sacred house as a gesture of respect to the ancestors.\n\nMusic and dance are vital parts of Sau-Batar. Performances of Tebe Lilin (Candle Dance) and other local dances transform the occasion into a festive gathering, where movement and rhythm mirror the unity and joy of a successful harvest. The babadok drum keeps the beat as men and women, elders and children, participate in a shared expression of thanks and renewal.\n\nThe ceremony also involves the symbolic sharing of corn among relatives and neighbors, emphasizing that harvest is not an individual achievement but a collective gift. In some cases, leftover corn from the previous season is burned or ceremonially discarded to make room for the new yield, representing a fresh start and spiritual cleansing.\n\nBeyond its religious and social meanings, Sau-Batar also serves as a moment of informal education. It is during this event that younger generations hear the stories of how rituals are performed, why they matter, and what each gesture or offering means. Through active participation, children and youth absorb the knowledge of land stewardship, spiritual ethics, and cultural identity.\n\nIn recent years, as commercial farming methods expand and traditional schedules shift, Sau-Batar has faced challenges. Yet in many rural areas, the ceremony continues to be practiced with dedication, often with support from local schools and cultural preservation initiatives.\n\nFor the communities that uphold it, Sau-Batar remains a vital link between past and present, the visible and the invisible, and the land and its people. It is a ceremony not just of harvest, but of harmony—a living tradition that continues to nourish both body and spirit.

Women’s Bamboo Dance/Performers: Women from Rumuu’ village in Fanif municipality \nThis dance was performed by the women from Rumuu’ village in Fanif municipality during the celebration of 2017 Yap Day. The dance talks about traditional games in the village back in the old days. \n\n-----------------------------------------------\nYapese Intangible Cultural Heritage: History, Legends, Myths, and Performing Arts of the Federated States of Micronesia home\n(2017 Federated States of Micronesia-ICHCAP Digitization Project of ICH-related Analogue Audiovisual Materials)\n\nThe Yap State Historic Preservation Office (YSHPO) is a national research institute established to record and preserve the history and cultural heritage of Yap State, one of the four states of the Federated States of Micronesia (FSM). FSM has great cultural diversity, as the country consists of Pacific island groupings located between Palau and the Marshall Islands. Even in the same state, cultural differences can be found among residents of major, small and reef islands. Yap State, in particular, is known for its well-maintained traditions and practices. For instance, the Yapese still use stone money, the largest physical currency in the world. YSHPO has recorded and safeguarded various cultures and history in the Yap island.\n\nIn 2017, ICHCAP carried out the Digitization Project of ICH-related Analogue Materials in cooperation with YSHPO, which resulted in the digitization of five hundred hours of analogue materials. Based on this, ICHCAP has published an audiovisual collection, titled “Yapese Intangible Cultural Heritage: History, Legends, Myths, and Performing Arts of the Federated States of Micronesia”, which contains selected digitized materials that well represent FSM’s traditions. YSHPO not just contributed to the digitization of analogue materials, but also supported the production of the collection to help more people discover the precious materials.\n\nThe FSM collection consists of eight CDs and two DVDs. The collection lists twenty tracks of ICH-related stories, legends, and myths of everyday life of the Yapese that were recorded in the 1960s. The collection also features a video on major dances performed during Yap Day, an annual holiday celebrated since 2007. Each CD contains photos about live performances to provide a better understanding.\n\nThe digitization project is meaningful in that it has restored analogue materials in FSM, which were at risk of severe damage, to enhance academic values and raise public awareness of the materials. ICHCAP will continue its efforts to identify valuable materials in the Asia-Pacific region and provide a better access to ICH information through related projects.\n

This is an original dance created in the 2000s, based on the popular Indonesian dance of 'Jaipongan' created by Bandung-born choreographer Gugum Gumbia Tritasonjaya in the 70s, which was in turn inspired by the Ketuk Tilu folk dance of the Sunda tribe in West Java. It is typically performed by a group of 4 to 8 young young women, characterized by dynamic movements of the hips, arms, shoulders, head and hands, accompanied by steps. The dancers wear brightly colored traditional Sunda attire called ‘kebaya’, specially designed to reveal their figures, and use scarves and fans as accessories. The Bajidor Kahot is an interesting example of the ups and downs of a local folk dance, once discounted in comparison to so-called aristocratic dances in the colonial era, being revived and developed into a dance of nationwide popularity, bringing all generations and groups of people together.\n\nCharacteristics:\n∙Composed of 4 to 8 female dancers\n∙Makes use of fan as accessory\n\nPerformed by Marwar Budaya Dance Atelier\nDirected by Artistic directorMaria Sofia Trimawarsanti\nChoreographed by Maria Sofia Trimawarsanti

Xuan Pha Village has retained its tradition of ancient and mystic folk performances to the present day. The origin of the village festival is a legend in which the king of Vietnam repressed a rebellion with the help of the local god of Xuan Pha Village. \n\nDuring the festival period, people from neighboring countries would comes to present various offerings as a tribute to the king, and villagers welcomed them with mast dances. This video demonstrates the efforts of the people of Xuan Pha Village to maintain and transmit this traditional performance to the next generation.

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.

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.

Nepalese communities express their emotions through the rhythms of various folk dances. Folk dances, in fact, are an inseparable part of rural life. On the other hand, the religious influence can easily be observed in the songs and dances, which are often performed to please deities responsible for the well-being of humans and cattle, favorable climate, and good harvest. As the country has widely differing topographical features, so does it have vast variances in cultural aspects. Folk songs and dances depend on cultures, cas-tes, seasons, and geographical features. For example, a sherpa living in the Himalayan region sings and dances differently from a Tharu living in the Terai region. Similarly, songs and dances performed in the spring season express joyous emotions, whereas those performed in the winter season express sadness. This collection includes the most famous folk dances of the different indigenous communities of Nepal dwelling in various environments. These dances are a part of their daily life.

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

Mo’og Magar is a traditional Yapese chant performed during girls’ standing dances in Balebat village, Rull municipality in Yap. The chant is basically intended to thank God for the lives of all grandparents in the community and for allowing their longevity to enable the little ones to spend more time with them in this life. In the dance, the girls also thank their grandparents for raising their parents as well as their parents for raising them to become who they are today.

Melgobengbeng is a traditional Yapese chant performed during men’s sitting dances in Balebat village, Rull municipality in Yap, Federated States of Micronesia. This chant talks about how Paluwlop traveled afar by canoe to retrieve the head of his father, who was killed by cannibals in a land that early native Yapese referred to as Moroes (believed to have been a part of modern-day Papua New Guinea). Paluwlop’s father was killed and his head was saved and placed on a roroew, a local food stone platform, for the high chief of that land. The chant also talks about the obstacles Paluwlop and his crew of siblings encountered during their long expedition.

This is a story about traditional dances and attire in Yap, Federated States of Micronesia. Traditional dances tell stories of different topics such as suffering, inter-village relationships, and romantic experiences. These stories serve to transfer knowledge from generation to generation, and some of them help transmit moral lessons through lyrics and words used in the dances. Normally, it is a way of remembering events and occasions in the past that mark an important point in the history of the village, persons, community, etc. The traditional attire used consists of men’s and women’s clothes that signify the physical development of each gender and that further break down by occasions, such as daywear and those associated with special occasions.

The southwestern provinces of Guangxi , Guizhou , and Yunnan make up a mountainous region with the greatest cultural diversity in China. The Zhuang people who live in Guangxi Zhuang Autonomous Region enjoy singing shange in pairs or groups of five to six people. While majority of shange are about love between a man and a woman, some narrate epic tales. They can also be improvised in surprising ways to match the situation.\n\nThe Miao people, characterized by the unique hairstyles of the women, are scattered around Guangxi Province, Guizhou Province, and other parts of southwestern China. They have a unique singing technique that involves drawing out a single note as long as possible. Using this technique, they sing feige that sounds like flying birds and jiuge . The lusheng music played by men is also worth a listen.\n\nThe Kam (Dong) people live in Guizhou and are well known in China as the most vocally gifted tribe. Each village has several singing groups comprised of several dozen people, organized by gender and age. These groups sing dage , which are traditional polyphonic songs. The gulou and dage are such famous symbols of the Kam people and are used in tourism programs as well.\n\nAlthough there are many ethnic groups in Yunnan province, the Yi people are well known for their singing. Yi women sing songs with extremely high pitches to the accompaniment of yueqin played by the men. The Yi are also famous for their mass dances and singing parties during summer bonfire festival.

CD3_FOLK SONGS OF NEPAL\n\nNepal is still extremely rich in folk songs, though these are less popular with younger generations. The music culture has traditionally been an oral culture passed down from guru to pupil. Many songs that have never been recorded or written down are thought to have been lost. Fortunately, several enthusiastic folklorists, musicians, singers, and researchers have made collections of folk song lyrics to promulgate them, focusing especially on the rarer and most endangered folk songs. We present here a few examples.

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.

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.

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.

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.

The Book of Intangible Cultural Heritage of Timor-Leste is a rich and vivid documentation of the living traditions that shape the identity, resilience, and spirit of the Timorese people. Developed through close collaboration between local communities, cultural authorities, and ICHCAP (International Information and Networking Centre for Intangible Cultural Heritage in the Asia-Pacific Region under the auspices of UNESCO), the book highlights the depth and diversity of Timor-Leste’s intangible cultural heritage (ICH).\n\nFeaturing 14 carefully selected elements—from ritual dances and sacred ceremonies to traditional craftsmanship, music, and ecological knowledge—the book reflects the wisdom passed through generations and the values that continue to guide community life today. Each element is presented with detailed descriptions, vivid images, and QR codes linking to videos that bring the traditions to life.\n\nAt a time when modernization and global change pose challenges to cultural continuity, this publication serves both as a record and a call to action. It encourages appreciation, safeguarding, and intergenerational transmission of practices that are not only culturally meaningful but vital to social cohesion, environmental stewardship, and identity.\n\nWhether you are a researcher, cultural practitioner, educator, or simply someone interested in the living heritage of Timor-Leste, this book offers a gateway into the heart of a nation's cultural soul—where memory dances, stories sing, and tradition breathes.

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 8 is 'ICH AND TRADITIONAL KNOWLEDGE AS AN OCCUPATIONAL LIVING.'

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.

On 28 October 2020, ICHCAP and the UNESCO Apia Office co-organized the 8th Pacific Network Meeting virtually. This meeting report includes presentation materials from the 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.\n\n