Procession of Va temple to Ngu Doi temple for Moc Duc ritual ON MID-LUNAR JANUARY in 2014 _Va Temple Festival

Presenting wine bottle to the altar of the Three Figures in the back alter for THE FISHING RITUAL IN MID-SEPTEMBER _Va Temple Festival

The convoy of gifts from Vân Gia communal house to the Và temple for THE FISHING RITUAL IN MID-SEPTEMBER _Va Temple Festival

Trong quan singing\n(Liêm Thuận commune, Thanh Liêm district, Hà Nam province)\n

If beliefs in fertility associated with aspiration of reproduction remains as a cultural sediment; beliefs in ancestor worship exist in various forms not only in the Việt communities but also in the lives of many ethnic groups; beliefs in village titulary worship make communal houses to become special space for religious activities; then beliefs in the Mother Goddesses has not only spread widely, but also formed large worship centers exceeding a village’s and a commune’s space. In other words, the development of beliefs in the Mother Goddesses is a spatial expansion from the North to the South, from coastal region across the delta to the mountains; from remote areas to urban centers in Viet Nam. Beliefs in the Mother Goddesses is a process of integrating and combining folk beliefs and religious activities of the Việt people and of other ethnic groups such as the Tày, Nùng, Tai, Dao, Cham, Khmer, etc which forms a specific type of Vietnamese folk belief sustainably developed for a long time.

Shared Heritage in the Asia-Pacific Region: Focusing on UNESCO Multinational Inscription by Thi Hien Nguyen (Vice Director, Viet Nam National Institute of Culture and Arts Studies)

Xuan Pha Dance listed in the National ICH List in 2016\nThe Xuan Pha performance is a Vietnamese folk tradition held every lunar February in Xuan Pha village. It serves as a blessing to the people and expresses gratitude to the guardian deity who watches over farming activities. Legend has it that Dinh Bo Linh achieved peace with the help of the deity Xuan Pha when chieftains were trying to divide the country. This became the origin of the village festival. The performance includes five different dance segments, each simulating the dances of five nations, paying tribute to the King of Dai Viet (modern-day Viet Nam). Most of the props used in the performance are made from materials obtained from nature, and the performers sing of a peaceful, happy, and idyllic life.

As a UNESCO category 2 center, ICHCAP organized the youth ICH storytelling contest with the aim to support ICH safeguarding activities of young practitioners. Youth practitioners play an essential role, as ICH relies on direct transmission among community members. Their activities and involvement will hopefully contribute to raising awareness of ICH worth protecting.\n\nThis exhibition displays the twenty-nine winning works of the contest organized by ICHCAP. The winners came from ten countries in the Asia-Pacific region, including India, Vietnam, Nepal, China, and Bangladesh. The contest was held in two categories (Young Practitioners and General Youth) for Asia-Pacific youth aged between 18 and 35. The winners shared their own stories as young practitioners in the form of an interview or essay or told stories about ICH they met in their everyday lives or on their travels. The entries were submitted in the form of photo essays or videos, and the descriptions are available both in Korean and English. Videos are provided with English subtitles.\n\nThis online exhibition covers various ICH elements, including traditional dance, crafts, art, music, martial arts, medical practices, and native languages. And instead of simply explaining such heritage, the youth reflected their insights, voices and passion in their stories about the history and culture of the people and communities they met and the safeguarding and transmission of ICH.\n\nMoushumi Choudhury, the Grand Prize winner in the Young Practitioners category, shared her story of becoming the first female Chau dancer by breaking the glass ceiling in the predominantly male dance genre in India. Saurabh Narang, the Excellence Prize winner in the General Youth category, was fascinated by the Siddis in India, which is an ethnic group of African origin, after he first heard of their existence from a man he came across while travelling. Maya Rai (Nepal), who learned about crafts and education from her two mothers, is now working at the Nepal Knotcraft Centre. Tiancheng Xu (China), who learned acupuncture from his father who was an acupuncturist, is currently studying how to introduce robotics and digital technology to acupuncture at university. Their stories will help the viewers have bright expectations about the roles and possibilities of the future generation for ICH safeguarding and sustainable development.\n

ICH Webinar Series on Maritime ICH: Maritime Living Heritage-Building Sustainable Livelihood and Ecosystems in the Asia-Pacific Region\n\nSession1: Traditional Maritime Skills and Knowledge for Inclusive Social and Economic Development\n\n1. 'Maritime Living Heritage and the Decade of Ocean Science for Sustainable Development' by Athena Trakadas, National Museum of Denmark / Ocean Decade Heritage Network\n2. 'The ties and tides of knowledge: Living as a community, living as the sea people' by Narumon Arunotai, Social Research Institute, Chulalongkorn University, Thailand\n3. 'Strengthening Women Fisherfolk Empowerment toward Social Inclusion in Coastal Environment of Malolos, Bulacan, Philippines' by Elmira Thrina C. Pelayo, Bulacan State University, Philippine\n4. 'Traditional Maritime Skills and Knowledge of Social and Economic Development in Inle Lake' by Thu Thu Aung, Department of Archaeology and National Museum, Myanmar\n5. 'Preserving Maritime Cultural Values and Promoting Community Cohesion: From the Viewpoint of Cau Ngu (Whale Worship) Festival in Thanh Hoa Province' by Thao Phuong Le, Vietnam Museum of Ethnology, Vietnam Academy of Social Sciences, Vietnam\n6. 'Fisherwomen across Bay of Bengal region and the extension of their profession in ICH- Understanding the contributions of a vital part of the community and their symbolisms of sustainability, survival, and continuity' by Lopamudra Maitra Bajpai, Symbiosis International University, India\n\nSession2: Traditional Maritime Skills and Knowledge for Environmental Sustainablity and Resilience\n\n1. 'Evidence from the Social Economic Impact Acessment of COVID-19 in the Pacific: The Contribution of ICH in human-centered development' by Ellen Lekka, Cultural Officer, UNESCO Apia Office\n2. 'The Coastal Cultural Landscape of Yap and Marine Ecological Conservation' by William Jeffery, University of Guam, Guam\n3. 'Korean National Important Fisheries Heritage System for Strengthening Sustainability:' by Hyunjong Jong, Ministry of Ocean and Fisheries, Republic of Korea\n4. 'Voicing Culture after Nature : Traditional Knowledge and Marine Resource Management in the Sulawesi Islands' by Dedi Supriadi Adhuri, Indonesian Institute of Sciences (LIPI), Indonesia\n5. 'O le Va‘a Tā Palolo – The Palolo Fishing Canoe' by Galumalemana Steve Percival, Tiapapata Art Centre inc., Samoa\n6. 'Maritime Cultural Heritage of Matsushima Bay Japan:' by Alyne Delaney, Center for Northeast Asian Studies, Tohoku University, Japan\n\n\n\n

On 12 and 13 November 2020, ICHCAP and the ICH NGO Forum virtually held the 2020 ICH NGO Conference entitled “ICH and Resilience in Crisis.” The fifteen participants, including eleven selected presenters from ten countries around the world, discussed various cases and activities of each country applied under the Corona-era, and proposed solidarity for the resilience of ICH for a ‘New Normal.’\n\nSession 1: In the Vortex: COVID-19 Era, Roles of NGOs to Safeguard ICH\n\nSpecial Lecture 1: 'Resilience System Analysis' by Roberto Martinez Yllescas, Organization for Economic Co-operation and Development (OECD) in Mexico\n1. 'Uncovering the veil of immaterial cultural heritage towards and autonomous management of well-being as well as cultural and territorial preservation' by Carolina Bermúdez, Fundación Etnollano\n2. 'Holistic Development Model of Community-Based Intangible Cultural Heritage of Yuen Long District in Hong Kong of China' by Kai-kwong Choi, Life Encouraging Fund \n3. 'Indigenous Knowledge System as a vector in combating COVID-19' by Allington Ndlovu, Amagugu International Heritage Centre\n4. 'Enlivening Dyeing Tradition and ICH: The initiative of ARHI in North East of India' by Dibya Jyoti Borah, President, ARHI\n\nSession 2: Homo Ludens vs. Home Ludens: Changed Features COVID-19 Brought\n\n1. 'The Popular Reaction to COVID-19 from the Intangible Cultural Heritage among Member Cities of the ICCN' by Julio Nacher, ICCN Secretariat, Algemesi, Spain\n2. 'Innovation for Arts and Cultural Education Amid a Pandemic' by Jeff M. Poulin, Creative Generation\n3. 'Promoting Heritage Education through Intangible Cultural Heritage in the Kalasha Valleys of Pakistan' by Ghiasuddin Pir & Meeza Ubaid, THAAP\n4. 'Shifting to Online Activities: Digital Divide among the NGOs and ICH Communities in Korea' by Hanhee Hahm CICS\n\nSession 3: Consilience: Prototype vs. Archetype for Educational Source\n\nSpecial Lecture 2: 'Geographical imbalance: the challenge of getting a more balanced representation of accredited non-governmental organizations under the 2003 Convention' by Matti Hakamäki, Finnish Folk Music Institute\n1. 'Crafting a Post Covid-19 World: Building Greater Resilience in the Crafts Sector through Strengthening Ties with its Community’s Cultural System' by Joseph Lo, World Crafts Council International\n2. 'Arts and Influence: Untangling Corporate Engagement in the Cultural Sector' by Nicholas Pozek, Asian Legal Programs, Columbia University\n3. 'ICH in the South-Western Alps: Empowering Communities through Youth Education on Nature and Cultural Practices' by Alessio Re & Giulia Avanza, Santagata Foundation for the Economy of Culture\n\n

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

Marriage to the Nùng ethnic minority is not merely that of a couple but has a greater meaning that is the ritual of community cohesion, keeping the ethnic group’s cultural identity. A wedding ceremony takes place in accordance with certain traditions and customs, such as bride and groom welcoming, ancestor worshiping, groom receiving; asking for a bride welcoming, etc. In the celebration to ask for the bride, the heads of the groom’s family will play music or sing to ask for the bride, and the bride’s family also plays music or sings in response. The instrumental music in Nùng weddings is mainly performed by men. Musical instruments may include the nhị (two-string fiddle), wind instruments, and cymbals.

Please refer to track 1

B’roh is a plucked cordophonic instrument made of six parts: the resonator, body, frets, strings, tuning pegs, and gauge. The resonator is made of a dry gourd that is cut on its two ends. The big end usually has the diameter of over ten centimeters, and the other has a diameter of five centimeters. Its body is made of a bamboo section with the length of one meter and a diameter of about eifht centimeters. Small wooden pieces are fixed to one end of the body as the gauge and to the other end as tuning pegs. The body has four or fie frets. B’roh includes two strings, which are tuned to the fifth interval. One of them is used to play drone part, and the other is used to play melodic part. The b’roh is for only the male. The instrumentalist puts this instrument in front of him and plays it while sitting. He wears a bamboo nail on his right forefinger to pluck strings while his left fingers press the frets. At the same time, the instrumentalist covers or opens the big end of the resonator with his stomach to enrich sounds. The ambitus of the b’roh is wide, about two octaves at mediant register.

The lullaby Ứ noọng nòn is popular kind of folk music at any place where Tày-Nùng ethnic minorities reside. The lullabies are often subtle and funny, so they are suitable for children. The songs reflect the lifestyles of living in a water rice civilization. Themes include a mother working in the fields, catching fish, etc. Most songs of Ứ noọng nòn have verses of five words.

The genre Lý is a common performance genre across all three regions of the country, although it could be the most popular in the Southern region. Pétrus Ky, a renowned Vietnamese scholar, once mentioned the saying “Southern region has lý, Huế region has hò, Northern region has thơ.” (Nam lý Huế hò Bắc thơ) as it points out how lý is a specialty of the Southern locals. In reality, lý not only has its mainstream popularity but also achieved a high level of craft and essence in traditional culture and professional life of the Southern region.\n\nNam Bộ (Southern Vietnam) is the area resides on the south side of Vietnam, including six provinces in the East and 13 provinces in the West. On a geographically level, the land of Nam Bộ is a stable region, in contrast to its cultural environment that is constantly changing and evolving.\n\nNam Bộ is home to various ethnic communities, such as the Việt people, the Kh'mer people, the Chăm people, the Hoa people, the Châu Ro people, the S'tiêng people, the Mạ people...And so, this has created a legacy to Nam Bộ folk performances and culture on this land. However, project "Phong hoa ca vịnh" only limits to the performance traditions of the Viet people, specifically the genres of ru, hò, and lý.\n\nFrom what was described about the early 20th centuries, it is evident how Nam Bộ art performance scene has rapidly transformed. No longer the time where lovers freely conversing their hearts by the rivers, all has sank into oblivion. Even the ru melodies have stopped lingering on the mother's lips, lost within the memories of her children. Culture and its nature of constantly evolving have opened up a contemporary cultural space that can response with today's society. The cyberspace, despite being "unreal", but it's meaningful enough to create an environment that filled with the poetry of ru, the melodies of lý, the bustling groove of hò - Where they have gathered a range of humanly emotions.\n\nThe songs (Lý) is like a river that flows with affection, where it carries the messages of the elders of Nam Bộ. Lý has the capacity to exist independently, express through it's performance nature. We can get to observe lý when it comes to themes about the many faces and complexities of life. It's like a reflective mirror on all things, events, ideas, and affections that come from humans, from the birds, the trees, the flowers, the river, the ferry, the bridge, the moon,...Every visual images and invisible sentiments are inhibited within those songs and lyrics.\n\nResearch by Mr. Le Hai Dang\nTranslated by Ms. Ha Hoang Minh Trang

The genre Ru tends to perform within the familial environment, with a hypnotising nature that tends to be use to lull children.\n\nNam Bộ (Southern Vietnam) is the area resides on the south side of Vietnam, including six provinces in the East and 13 provinces in the West. On a geographically level, the land of Nam Bộ is a stable region, in contrast to its cultural environment that is constantly changing and evolving.\n\nNam Bộ is home to various ethnic communities, such as the Việt people, the Kh'mer people, the Chăm people, the Hoa people, the Châu Ro people, the S'tiêng people, the Mạ people...And so, this has created a legacy to Nam Bộ folk performances and culture on this land. However, project "Phong hoa ca vịnh" only limits to the performance traditions of the Viet people, specifically the genres of ru, hò, and lý.\n\nFrom what was described about the early 20th centuries, it is evident how Nam Bộ art performance scene has rapidly transformed. No longer the time where lovers freely conversing their hearts by the rivers, all has sank into oblivion. Even the ru melodies have stopped lingering on the mother's lips, lost within the memories of her children. Culture and its nature of constantly evolving have opened up a contemporary cultural space that can response with today's society. The cyberspace, despite being "unreal", but it's meaningful enough to create an environment that filled with the poetry of ru, the melodies of lý, the bustling groove of hò - Where they have gathered a range of humanly emotions.\n\nLullabies (Hát ru/ Ru) was created on the basis of the native landspace. There's an evident link between the genre of ru with other folk music genders, but also deep within the layers of historical and cultural memories. The ru of Nam Bộ was formed and passed down via the cultural foundation of Nam Bộ. This natural ecosystem and culture have given birth to a distinctive genre, where it's expressed through the lyrics, melodies, and sonic possibilities.\n\nThis project is sponsored by the British Council under the program Heritage of Future Past- A 2018 project which aims to conserve and cultivate the archive of Vietnamese music and film, especially focusing on the untapped values of these mediums that are under the threat of being forgotten. You can learn more about the Heritage of Future Past program via this link: https://www.britishcouncil.vn/cac-chuong-trinh/nghe-thuat/di-san-ket-noi.\n\nResearch by Mr. Le Hai Dang\nTranslated by Ms. Ha Hoang Minh Trang

The genre Hò originated from the working environment. The Southern part of Vietnam, where the waters are a vital element for the workers to sing on these flowing streams. Back then, the genre of hò đường thuỷ (singing on waterways) was rather popular. From traditional performing environment, hò eventually separated into different genres- hò trên cạn (hò on land) and hò dưới nước (hò on water). Based on the carrying content, reflected themes, hò continue to evolve into various genres to adapt with different forms and narratives (hò thơ, hò văn, hò tuồng, etc.) \n\nNam Bộ (Southern Vietnam) is the area resides on the south side of Vietnam, including six provinces in the East and 13 provinces in the West. On a geographically level, the land of Nam Bộ is a stable region, in contrast to its cultural environment that is constantly changing and evolving.\n\nNam Bộ is home to various ethnic communities, such as the Việt people, the Kh'mer people, the Chăm people, the Hoa people, the Châu Ro people, the S'tiêng people, the Mạ people...And so, this has created a legacy to Nam Bộ folk performances and culture on this land. However, project "Phong hoa ca vịnh" only limits to the performance traditions of the Viet people, specifically the genres of ru, hò, and lý.\n\nFrom what was described about the early 20th centuries, it is evident how Nam Bộ art performance scene has rapidly transformed. No longer the time where lovers freely conversing their hearts by the rivers, all has sank into oblivion. Even the ru melodies have stopped lingering on the mother's lips, lost within the memories of her children. Culture and its nature of constantly evolving have opened up a contemporary cultural space that can response with today's society. The cyberspace, despite being "unreal", but it's meaningful enough to create an environment that filled with the poetry of ru, the melodies of lý, the bustling groove of hò - Where they have gathered a range of humanly emotions.\n\nThe blues (Hò) is a folk genre that originates from the working environment. Thanks to hò, it's helped the worker to aid their spirit, harmoneously integrate with the social interactions to bring out the best productivity outcome.\n\nThroughout history, hò has branched itself into different forms, where some branches fossiled within the past, and some have progressed into forms of expressions, for flirting, conversing,...On the aspect of social application, hò has a function that response with the need of labour. While on the sentimental aspect, hò reflects the internal needs of people.\n\nThis project is sponsored by the British Council under the program Heritage of Future Past- A 2018 project which aims to conserve and cultivate the archive of Vietnamese music and film, especially focusing on the untapped values of these mediums that are under the threat of being forgotten. You can learn more about the Heritage of Future Past program via this link: https://www.britishcouncil.vn/cac-chuong-trinh/nghe-thuat/di-san-ket-noi\n\nResearch by Mr. Le Hai Dang\nTranslated by Ms. Ha Hoang Minh Trang

CD6 CA TRÙ SINGING\nCa trù singing has other names such as hát ả đào, hát cửa đình, hát nhà tơ, hát nhà trò, or hát cô đầu. According to Đại Việt sử ký toàn thư (The Complete Book on the History of Đại Việt), Ca trù appeared in the Lý dynasty (1010-1025) under the name Ả đào singing. Many Ả đào singing contests were held in the village communal houses. In that time, village notables often played the praised drum while enjoying the performers singing and threw reward cards to the singers who performed well. That card was call “trù”. Gradually, the way of rewarding the singers with cards became known as Ca trù. This name is found in the poem namely “Nghĩ hộ tám giáp làm giải thưởng cho cô đào hát” (“On Behalf of People from Eight Hamlets to Write the Rewarding Rule for Awarded Singers”) of Lê Đức Mao in 1500. Ca trù is a popular genre of traditional singing and dancing of the Kinh people in the northern and the central Vietnam. The key members of a Ca trù band include one đàn đáy (three-stringed lute instrumentalist) (the đàn đáy is the only musical instrument for accompanying Ca trù), one singer who both sings and plays the phách clappers, and one praise drummer (known as quan viên cầm chầu) player.\n\nCa trù can be performed in a wide variety of places. Ca trù was born to serve as worship singing. From serving as worship at the village communal houses and ancestor worship, Ca trù has changed into singing for entertainment at private houses, restaurants, or cabarets. In addition to these main performance environments, Ca trù was performed at the royal palace and the palaces of mandarins. At present, Ca trù is sung as traditional music. In each performance environment, Ca trù has some changes in terms of the repertoire, musical nature, or performance styles. The CD Ca trù singing (Hát Ca trù) introduces some songs that which were performed for worship and for entertainment. They were recorded in 1970 (tracks 5, 6, and 7), in 1982 (tracks 1 and 4), and in 1997 (tracks 2 and 3) and performed by the three most famous Ca trù folk artists.

The genre Ru tends to perform within the familial environment, with a hypnotising nature that tends to be use to lull children.\n\nThe genre Hò originated from the working environment. The Southern part of Vietnam, where the waters are a vital element for the workers to sing on these flowing streams. Back then, the genre of hò đường thuỷ (singing on waterways) was rather popular. From traditional performing environment, hò eventually separated into different genres- hò trên cạn (hò on land) and hò dưới nước (hò on water). Based on the carrying content, reflected themes, hò continue to evolve into various genres to adapt with different forms and narratives (hò thơ, hò văn, hò tuồng, etc.) \n\nThe genre Lý is a common performance genre across all three regions of the country, although it could be the most popular in the Southern region. Pétrus Ky, a renowned Vietnamese scholar, once mentioned the saying “Southern region has lý, Huế region has hò, Northern region has thơ.” (Nam lý Huế hò Bắc thơ) as it points out how lý is a specialty of the Southern locals. In reality, lý not only has its mainstream popularity but also achieved a high level of craft and essence in traditional culture and professional life of the Southern region.\n\nThis project is sponsored by the British Council under the program Heritage of Future Past- A 2018 project which aims to conserve and cultivate the archive of Vietnamese music and film, especially focusing on the untapped values of these mediums that are under the threat of being forgotten. You can learn more about the Heritage of Future Past program via this link: https://www.britishcouncil.vn/cac-chuong-trinh/nghe-thuat/di-san-ket-noi.\n\nResearch by Mr. Le Hai Dang\nTranslated by Ms. Ha Hoang Minh Trang

The Spirit of Vietnam in Song\n(2013-2014 VIM-ICHCAP Restoration and Digitization Project)\n\nIn 2015, ICHCAP and the Vietnam Institute of Musicology (VIM) jointly produced Cultural Sounds: The Spirit of Vietnam, a nine-CD set to promote public awareness about the Vietnamese ICH.\n\nIn 2013, the VIM had conducted a year-long joint project with ICHCAP to restore and digitize its analogue audio documentation of ICH. The project resulted in the successful digitization of some three hundred magnetic tapes in the VIM’s collection. This CD collection was produced to distribute the outcomes of the project while raising the visibility of the audio resources. Local researchers thematically selected the eighty-seven tracks in the collection. Information on each track is presented in Vietnamese, English and Korean.\n\nThis project is significant as it resulted in restoring analogue recordings at risk of permanent damage and digitizing them to enhance their academic value and public visibility.

For a very long time, the publication of a book on the intangible cultural heritage of Hà Nội has been a deeply held wish of all the researchers and staff of the Centre for Research and Promotion of Cultural Heritage (CCH), an affiliated organisation of the Association of Cultural Heritage of Viet Nam. The aim of this book is to identify and introduce the richness and great value of the living cultural heritage of Hà Nội, our capital city and a great centre of 1,000 years of civilisation in our country. Our volume is thus a means of documenting and memorialising the boundless merits of our ancestors, and of the many generations of the communities who have continually created and sustained an extraordinarily diverse array of cultural expressions, making Hà Nội a precious repository of ancient traditions and living creativity: a land rich in cultural values, and a source of pride to all Vietnamese citizens, and especially to all the people of Hà Nội.

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 42 is 'ICH FESTIVALS ON THE SILK ROAD.'

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 15 is 'ORAL TRADITIONS AND PRACTICES RELATED TO SNAKES.'

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 21 is 'Traditional Pottery Making.'