The Kyrgyz komuz is a national musical instrument. Traditionally, komuz was made from a single piece of wood. The instrument has three strings, which were traditionally made from dried ram innards, but in modern times, fishing lines are often used instead.

Of the fifty-four ethnic groups in Vietnam, the Kinh (also known as the Viet) people account for 85 percent of the entire population of Vietnam while the remaining 15 percent of the population is made up of the other fifty-three minorities. Within the group of minorities are the Nung people who have a population of around one million and reside in the northern mountainous provinces on the border with China.

The Law on Cultural Heritage of Vietnam (adopted in 2001, revised in 2009) is the most important legal tool for safeguarding heritage, both natural and cultural, and tangible and intangible, in Vietnam. Compatible to UNESCO’s 2003 Convention on safeguarding intangible cultural heritage, the Law on Cultural Heritage of Vietnam acknowledges and protects the cultural creations of the community produced out of their own needs, through their awareness and labour. Such cultures have a strong attachment to them from one generation to another and become the identity of the community or groups of people in society and their heritage and the heritage of the nation and humankind. Lên Đồng (mediumship) is a religious practice of the Viet/Kinh, the majority group in Vietnam. This ritual originated from the worship of the Mother Goddess. Lên Đồng possibly started in the 15th century and has existed continuously in the people’s life. Yet, in some periods of time, it was not recognized and thus was not practiced openly. Today, Lên Đồng and the worship of the Mother Goddess are open, common and developed in Vietnam. Their values and practice are being studied, clarified and acknowledged for their protection as a national heritage. This work has been carried out with good results thanks to the participation of many scholars, cultural policy makers and especially the self-awareness of identifying and introducing the values of this cultural heritage of the Mother Goddess Worship community. We’d like to express our thanks to ICHCAP and the authorities of Jindo City for inviting us to this Workshop “Safeguarding Shamanism Heritage in Asia”. My paper will present a case study entitled “Together with the community identifying the values, safeguarding Lên đồng mediumship, a Shamanism heritage in Vietnam”

Water puppetry is identified widely as an artistic form that has sprung from the characteristics of particular landscapes and the lives and shared stories of their communities. In the Red River Delta (RRD) in Vietnam, it is documented as having developed in the rice-growing area in the tenth/eleventh century (Dunning, 1996 2021; Gaboriault, 2009), with the first physical evidence of performance held in the Th\nầy Temple, Hà Tây Province, during the Late Lê (Ly) Dynasty (1428–1778). The inscription on the Sùng Thiên Diên Linh stone stele (tablet) of 1121 at the Doi San ̣Pagoda, Duy Tien District (around 50 kilometers from Hanoi), provides evidence of water puppetry based on stories that reflect local lives and livelihoods and mythical creatures such as the golden tortoise, fairies, and flocks of birds and animals singing and dancing (Hai, 2006). Water puppet performance is a collaboration between puppeteers, musicians, the audience, and, \nimportantly, the character of the staging and spatial context of the performance within water landscapes. Today, performances generally consist of a series of short vignettes based on stories of traditional delta life and livelihoods, commonly interspersed with folk tales and mythological characters.

First of all, I would like to express my gratitude to ICHCAP, which has brought us together to implement our duties to our ancestors and future generations. ICHCAP calls us on to protect our intangible cultural heritage, but what does intangible cultural heritage mean, and what are the tasks involved with safeguarding it? Intangible cultural heritage safeguarding includes preserving our cultural memory for our future generations; preserving our essence and dignity to live a proper life; protecting our unique cultural heritage by which we live every day; developing traditions for our young generations; and enriching our lives by studying about the rich experiences of the past.

This discussion, centered on the topic of “The Universality and Diversity of Shaman Heritage in Asia,” regards the research done in shamanism in Phillippines, Myanmar, and Vietnam. Looking at these regions, the research is, after all, about the shaman heritage in Southeast Asia. Korea, which is part of the Northeastern part of Asia, has done research of shamanism in relation to Siberia and Mongolia. This presentation, however, made us discover unexpected and interesting similarities between the shamanism of Korea and that of Southeast Asia. I’d like to personally thank all the researchers for their meaningful presentations. I’m very glad about this opportunity for many countries to share their information on shamanism and to discuss the cultural worth of the shaman heritage of Asia.

Throughout their history, the Kyrgyz people have lived nomadically, which then determined the direction of their cultural and spiritual life. This idea comes to life quite easily when examining the intricacies of Kyrgyz folk art and epic poetry, in particular. The main core of Kyrgyz epic poetry is Manas.

The parent organization of CEE Himalaya is the Centre for Environment Education (CEE), which was established in August 1984. CEE is a national institution with its headquarters in Ahmedabad and has been given the responsibility by the central government of promoting environmental awareness nationwide. It undertakes demonstration projects in education, communication, and development that endorse attitudes, strategies, and technologies that are environmentally sustainable. Based in the city of Lucknow in the state of Uttar Pradesh, CEE Himalaya has been working in the states of the Indian Himalayan Region (IHR) for over two decades. The mission of CEE Himalaya is to enhance understanding of sustainable development in formal, non-formal, and informal education through its work with schools, higher educational institutions, local and Indigenous communities, policy makers and administration, youth, and the general commu-nity. The primary objective of CEE Himalaya is to improve public awareness and understanding of environmental issues with a view to promote the conservation of nature and natural resources by integrating education with traditional streams of knowledge and cultural expressions. This approach demonstrates and grounds sustainable practices in rural and urban communities and facilitates the involvement of the business and public sectors to respond to the effects of climate change and variability.

The parent organization of CEE Himalaya is the Centre for Environment Education (CEE), which was established in August 1984. CEE is a national institution with its headquarters in Ahmedabad and has been given the responsibility by the central government of promoting environmental awareness nationwide. It undertakes demonstration projects in education, communication, and development that endorse attitudes, strategies, and technologies that are environmentally sustainable.

Intangible cultural heritage (ICH) refers to the non-physical aspects of cultural heritage. We can preserve tangible cultural heritage, such as buildings and artifacts, to pass them down to the next generation. It is, however, difficult to determine what specifically should be preserved when it comes to ICH. Generally, ICH elements are selected and then practitioners of the arts or skills are designated to preserve and transmit the elements. The essence of ICH preservation, therefore, is to transmit the arts and skills of ICH from people to people and from generation to generation.

In Turkey, it is mostly traditional female cooks who prepare wedding dishes in most villages, although their numbers have declined. Traditional female cooks have almost always been at the center of my culinary eld research. I carried out an important part of this research in the villages and small towns of the Aegean (Izmir, Aydın, Manisa), Mediterranean (Adana), Marmara (Balıkesir, Çanakkale), and Central Anatolia (Çorum) regions between 1998 and 2018. e data I obtained by interviewing and observing techniques in groups that describe themselves as immigrants, natives, Alawis, Yoruks, or Turkomans in these settlements showed that traditional female cooks who prepare ceremonial dishes, especially for weddings, have some common equipment and knowledge. is equipment included the ability to control the material, cooking and presentation techniques of ceremonial food and to transfer the traditional knowledge, skills, and experience of food to future generations.

This paper intends to describe the role and function of Shaman in Myanmar society. The background history of Shaman, the role and function of Shaman, Natkadaw in Myanmar society, and the current situations of Shaman living in Yangon, are elicited. Especially, what are the essential or key factors to become a Shaman in Myanmar, why Myanmar people believe in Nats (spirits), how they offer to the Nats, when they offer to the Nats, what are necessary, who is essential for this ritual or ceremony and how the Shaman maintains and transmits his or her super power from generation to generation are discussed. Descriptive or exploratory and oral history methods are used as the research designs. Secondary analysis, key informant interview are conducted for data collection. As the result outcomes, why Shaman is important to safeguard as Myanmar intangible cultural heritage, why and how the government safeguard the Shaman officially are explored.