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.

Cultural space of Baysun was recognized by UNESCO as the “Masterpiece of Oral and Intangible Cultural Heritage of Humanity” among the first 19 in 2001. Consequently, in 2008, it was included in the Representative List of the Intangible Cultural Heritage of the Humanity of UNESCO. Inclusion the space to the List enhanced the opportunity of preservation, documentation and conduct scientific researches of artistic traditions and culture of Baysun district. It is a world bringing together settled and nomadic traditions, Turkic and eastern Iranian peoples. The traditional culture of Baysun, besides Islam, has its roots in ancient cults and faiths. In its folklore one can see traditions with elements of Zoroastrianism and Buddhism, animism and ancestors worship. Grazing patterns have not changed in a thousand years. Livestock are still the main measure of wealth, and gardening is a male tradition. Hand spinning wheels, graters, tandirs, water mills, and blacksmiths using bellows all still exist. National clothes are made, such as doppi and chapans and head scarves for men and women, using craft traditions and local ornamental decorations dating from the tenth and eleventh centuries. Old customs and rituals govern life from birth to death. There is much historical heritage and native wisdom in them.

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.

Mongolian calligraphy is the technique of handwriting in the Classical Mongolian script, which comprises ninety letters connected vertically by continuous strokes to create words. The letters are formed from six main strokes, known as head, tooth, stem, stomach, bow and tail, respectively. Mongolian calligraphy expresses ancient traditional literature, culture, knowledge, intellectual education and innate human sensuality through the brush strokes used in writing the Classical Mongolian script. It requires an equal combination of hand, eye and mental artistry and skill, using brush, ink, paper and strop. This calligraphic art is used for the distinct, vertically written Mongolian script comprising several patterns of writing: ancient, meticulous, stenography, ornamental and stylized. Traditionally, mentors select the best students and train them to be calligraphers over a period of five to eight years.

The video shows how jewelry making differs from making other crafts in Kazakhstan, as it has a professional nature and is predetermined by the specifics of production, including the purchase and use of certain metals, of which silver has sacral value. Historical examples of Kazakh jewelers and traditional techniques of minting metal are shown as are jewelry-making processes. Symmetrical ornaments and patterns dominate jewelry designs and they emphasize the historical heritage.

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

ICH Video Production in the Asia-Pacific Region : Central Asia\n\nRapid urbanization and westernization are changing the environments in which intangible cultural heritage is rooted. The importance of documentation that traces the effect of social changes on intangible cultural heritage is being emphasized as a safeguarding measure. Quality video documentation is an important resource that enables the conservation and transmission of existing intangible cultural heritage and raises its visibility.\n\nVideo documentation is the best medium to record intangible cultural heritage in the most lifelike manner, using the latest technologies. It is also an effective tool for communicating with the public. However, conditions for video production in the Asia-Pacific remain poor, requiring extensive support for quality video documentation.\n\nICHCAP has been working to build the safeguarding capabilities of Member States and raise the visibility of intangible cultural heritage in the Asia-Pacific by supporting the true-to-life documentation of intangible cultural heritage as this heritage is practiced and cooperating with experts, communities, and NGOs in related fields.\n\nSince 2010, ICHCAP has hosted annual Central Asian sub-regional network meetings with Uzbekistan, Kazakhstan, Kyrgyzstan, Tajikistan, and Mongolia to support the ICH safeguarding activities of Central Asia. Through their collaboration, ICHCAP has supported projects involving collecting ICH information, producing ICH websites, and constructing ICH video archives.\n\nAt the Sixth Central Asia Sub-regional Network Meeting in Jeonju in 2015, ICHCAP, four Central Asian countries, and Mongolia adopted a second three-year cooperation project plan on producing ICH videos to enhance the visibility of ICH in Central Asia.\n\nICHCAP developed guidelines and training programs for the project and invited video and ICH experts from the participating countries, and held a workshop in November 2015. After the workshop, focal points for the project were designated in each country, and each focal point organization formed an expert meeting and a video production team to produce ICH videos.\n\nInterim reports were submitted to ICHCAP in February 2016, and the first preview screening was held in Dushanbe, Tajikistan, during the Seventh Central Asia Sub-regional Network Meeting in May 2016. Since then, each country has carried out the project according to the project plan. ICHCAP met with each country between October 2016 to February 2017 to check on the project progress.\n\nAfter the final preview screening during the Eighth Central Asia Sub-regional Network Meeting in Bishkek, Kyrgyzstan, in 2017, final editing process took place in each country, and fifty ICH videos were completed by October 2017.\n\nAll photos introduced on this page along with fifty ICH videos are from the exhibition 'Living Heritage: Wisdom of Life' held in the Republic of Kyrgyzstan and the Republic of Korea. Designed for introducing various ICH in the five countries, this exhibition shows photos on representative twenty elements in each country collected during the process of on-site survey and documentation for ICH Video Production Project in Central Asia by experts participated in the ICH video production project.\n\nICHCAP will continue its ICH documentation projects in the Asia-Pacific region for the next ten years by expanding the scope from Central Asia and Mongolia to Southeast Asia, Southwest Asia, and the Pacific.\n\n\nPartners\nMongolian National Commission for UNESCO • National Commission of the Kyrgyz Republic for UNESCO • National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • National Commission of the Republic of Uzbekistan for UNESCO • National Commission of the Republic of Tajikistan for UNESCO • Foundation for the Protection of Natural and Cultural Heritage Mongolia • National Committee for the Safeguarding of the Intangible Cultural Heritage under the National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • School of Fine Art and Technical Design named after Abylkhan Kasteyev • State Institute of Arts and Culture of Uzbekistan • Tajik film • Tajikistan Research Institute of Culture Information • Korea Educational Broadcasting System • Asia Culture Center\n\nSupporters\nUNESCO Almaty and Tashkent Cluster Offices • Cultural Heritage Administration • Panasonic Korea • Turkish Airlines

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.

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.

This is the history of how Yapese learned several tying patterns and techniques and about where they came from. It was read by Alukan, Bapilung, and Gaangin from the Old Age Program in Yap back in the late 1970s. The tying techniques, along with other traditional knowledge and skills, were handed down from up above, or, some may say, from heavens. The canoe was a gift from above as a means to pass knowledge and skills from heavens to humans in Yap. It is said that the canoe was lowered down on Gacham, a savannah in Tamil municipality. Native Yapese called it “canoe of knowledge” (ba m’uw i llowaen). Even today, you can still see the figure of the canoe and its outrigger that have turned into red dirt. In Yapese traditional culture, knowledge and skills are considered resources of a village. The chief of the village has the authority over the person or the village possessing the knowledge and skills. Therefore, people have to get approval from the chief of the village to learn or access such knowledge and skills. Yapese have used several old tying techniques up until today that are considered to have come from a spider. Legend has it that a nameless man from Nimar village in Weloy municipality observed and mastered all kinds of tying patterns and techniques from the spider on a canoe. These tying patterns and techniques are said to have been applied by the man to build a huge community meeting house named Wedbon in the northern part of Rull municipality. The people from Rull municipality asked this tying master from Nimar village if he could share his knowledge to help build the community meeting house, but he did not consult his chief in advance. The chief was furious that the tying master had never asked for his approval, and scolded him for not taking the proper steps. From then on, all other requests by other communities were channeled through the chief for his approval. Makiy village in Gagil municipality and Malon village in Maap’ municipality gained the approval from the chief to get the knowledge. The techniques and pattern later spread to the southern part of the island, namely Lamear and Ngariy villages in Rull municipality. Soon after, they were passed on from Ngariy to Kanif village in Dalipe Binaew municipality.

CD4 QUAN HỌ BẮC NINH IN THE NORTH VIETNAM\nQuan họ,a special alternate singing between men and women, was once only available in Kinh Bắc region in northern Vietnam. Traditional Quan họ was previously the folk art of forty-nine villages in Kinh Bắc, which is presently Bắc Ninh and Bắc Giang provinces.Quan họ singing has been associated with twining occasions in the past. Quan họ is often sung between two groups, called bọn Quan họ, who are living in two different villages and wanting to strike up friendship with each other. During annual festivals or their free time, the Quan họ people sing to satisfy their demand for exchanging art. They sing throughout the day and night. The twining relationship between the Quan họ performers as artistic and intimate friends has continued from forefathers to descendants; thus, they are never allowed to marry each other. Quan họ is one of the few musical forms that has alternate singing between men and women and lyrical love-exchange lyrics but has no the function of love-exchange in daily life as other love-exchange folksongs.\n\nNevertheless, Quan họ is sung not only by twinning Quan họ people but also by others from other places. People can sing Quan họ at many locations; for example, they can perform it at houses at night on normal days, at temples on festivals, on hills, in the forest, along the street, at ponds, or on boat.In Quan họ singing, the male group is called liền anh, and the female group is called liền chị. Traditional Quan họ is pair singing without accompaniment. One of the pair is in charge of singing, leading the tune while the other sings as a secondary part. These two people have to be selected and trained to be in perfect harmony at the same timbre. In addition to pair singing, there is group singing, which is performed on congratulatoory and worshipping occasions. The male group sings in response to the female one. Four typical singing techniques of Quan họ are resonant, ringing, restrained, and staccato.

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.

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 18 is 'TRADITIONAL FERMENTED FOOD'.

ICH Courier is the quarterly magazine on ICH in the Asia-Pacific region issued by ICHCAP since 2009. Every issue has its own theme under the title of the Windows to ICH, and the theme of the Vol 25 is 'Pictures and Storytelling.'

ICH Courier is the quarterly magazine on ICH in the Asia-Pacific region issued by ICHCAP since 2009. Every issue has its own theme under the title of the Windows to ICH, and the theme of the Vol 28 is 'ICH and Sacred Cultural Spaces.'

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 32 is 'Lacquerware Arts.'