In December 2011, Rumah Angklung was founded by a group of young people who loved and cared about the Angklung (a traditional Indonesian musical instrument) and finally had the initiative to create a community. That community is now a serious foundation committed to preserving and developing Indonesian art and culture, especially related to angklung.

In December 2011, Rumah Angklung was founded by a group of young people who loved and cared about the Angklung (a traditional Indonesian musical instrument) and finally had the initiative to create a community. That community is now a serious foundation committed to preserving and developing Indonesian art and culture, especially related to angklung.\nRumah Angklung has a responsibility to continue working and instill pride in people far and wide. “When Culture Becomes a Pride” includes the common threads, ideals, and dreams of Rumah Angklung to make Indonesian culture prestigious. Rumah Angklung could hopefully be a “home” for individuals, groups, or other angklung communities for gathering information, seeking solutions, and experiencing many other benefits of angklung. In these activities, the purpose of angklung preservation and development can be achieved.

The Democratic People’s Republic of Korea (DPRK) ratified the UNESCO 2003 Convention for the Safeguarding of the Intangible Cultural Heritage Convention in 2008. Since then, the country has nominated three elements to the Convention’s Representative List, a mechanism of the Convention designed to draw attention to the importance of living heritage in general, on an international level. The first two elements listed by the DPRK were Arirang Folk Singing in 2014 and Traditional Kimchi-making in 2015, both of which were also listed separately by the Republic of Korea (ROK). Last year, when both countries listed an element jointly for the first time—traditional Korean wrestling, ssirum (also spelled ssireum) —it marked an historic moment in the cultural relations between the DPRK and the ROK and allowed culture to play a bridging role currently inaccessible through most other channels of cooperation.

Ms Suzanne Ogge, Heritage Specialist and ICH Consultant/ Accredited trainer for the UNESCO Global Capacity-building Program in the Asia Pacific Region. \nThe Democratic People’s Republic of Korea (DPRK) ratified the UNESCO 2003 Convention for the Safeguarding of the Intangible Cultural Heritage Convention (hereon ‘the 2003 Convention) in 2008. Since then, the country has nominated three elements to the Convention’s Representative List, which is aimed at drawing attention to the importance of living heritage in general, both within the nominating country, and on an international level. As most of you would be aware, State Parties to the Convention may prepare nomination files for the purpose of listing a living tradition (also referred to as ICH) and in doing so, contribute to raising awareness both nationally and internationally about the importance not only of the element inscribed on the list, but of intangible heritage in general.

Xẩm is a folk performing art form of Vietnam with unique and typical lyrics. Among the national traditional art forms, only Xẩm singing is regarded as an occupation for its artists to earn for a living.

Bergendang is an arts and culture collection inherited by the Sarawak Malay community. It serves as a casual entertainment that educates, entertains, and criticizes the behavior of the community, by conveying messages through Pantun by Seh Gendang and Penandak .

Harmony, social cohesion, integrity, peace and tranquility and unity are; all outcome of good social networking system with core human value. And negative impacts are also inevitable if it is the organization’s aim and objective. But, information-sharing is the fundamental prerequisite for the aforementioned subject as it is a key ingredient for organizations seeking to remain competitive and dynamic. Ever since the human beings had entered the threshold of civilization, the tradition of networking had evolved simultaneously. The historical records explicitly exhibit unbelievable information of both tangible and intangible records. For example; tangible cultural heritage– the figures of the Seven Wonders of the World and the intangible accounts- the imperial figures, legends and myths living even today are the outcome of social networking system. Had there been no networking system, there may not be anything recorded at present but, unless someone has extraordinary capabilities or god-like strength and power.

On identifying and researching the intangible cultural heritage of Ukraine together with local communities, local and regional cultural organizations, Development Centre “Democracy through Culture,” as an NGO accredited to UNESCO for ICH issues and engaged in ICH safeguarding, has found that music and singing traditions are inherent in all regions and localities of Ukraine as one of the most important national ICH manifestations. Among the different types of these arts (including one inscribed into the List of Intangible Cultural Heritage in Need of Urgent Safeguarding, Cossack Songs of Dnipropetrovsk Region) there is one common and popular elsewhere, reflecting the past, present, and provisional future of Ukrainian culture. \n\nWhat is referred to as music and singing art is related to bandura. A bandura (Ukrainian: бандура) is more than a traditional music instrument in Ukrainian culture—it represents the entire social and cultural complex combining such integral parts as bandura making, bandura \nplaying, and bandura singing, writing texts of special poetical forms (dumas), performing, leading a certain lifestyle of travelling performer or travelling philosopher. Bandurysts, musicians who play the bandura have had a profound impact on Ukrainian folk culture as bearers of special knowledge and skills, even as magicians and prophets.

As it happens, Skaņumāja, a small non-governmental organization, has emerged as the current leader in submissions to the Latvian National Inventory of Intangible Cultural Heritage. Despite the extensive work that has been invested in writing these submissions, this was never the organization’s goal. It was rather our members’ interest in the practice of folklore and traditional music that gradually led to the evolution of deeper interest in Latvia’s waning instrumental musical traditions. This has now become our organization’s most important goal—what was once a hobby has become our principal mission. These non-classical instrumental traditions offer a wealth of material capable of diversifying the cultural landscape while also serving as resources for a range of cultural, extra-curricular, special, and lifelong educational, social work, and leisure and tourism-related production, all the while averting the loss of unique musical instruments, repertoires, and techniques.

Telugu language is the mother tongue for carriers and transmitters in safeguarding the Intangible Heritage of the Telugu people. We have come up with an interdisciplinary and innovative educational programming that safeguards our intangible heritage of over 53.6 million people in Andhra Pradesh (AP). Our higher educational programming cuts across the five domains delineated in the 2003 ICH Convention of UNESCO. It is an integral part of a systematic safeguarding plan that is unique. I will introduce the framework that enables us to bring together the teaching of intangible heritage in a linguistic environment through six tertiary educational institutions for the Telugu speaking people. I am responsible for the curricula, pedagogy, employment of carriers and transmitters as teachers and performance education in all the six colleges. \n\nWe also address the interface between intangible heritage and language through higher education. Moreover, I will also reflect on my own engagement as a carrier and transmitter of theatre traditions of the Telugu people. My conclusion would advocate that we need to think in new and innovative ways for safeguarding the rich diversity of the intangible heritage of humanity. Our innovative tertiary education programming provides a feasible role model.

It has been used for about 1000 years ago. Jade flute is proof that is excavated in Kan Su State,at china.\nThis flute was Kachin traditional instrument.\nBamboo joint that grows from hill-side cultivation is chopped and dried. It is perforated by using drill.\nThere are a total of 8 perforated holes including 6 finger holes, two vent holes for enunciation. The flute with no reed is called flute and the flute with reed is called whirling flute. It has to be blown from air holes and the finger holes are made for opening and closing to produce traditional melody. It has to be played together with oboe, drum, gong and cymbal. Pyi Htaung flute is played for all kinds of Manao house-warming ceremony, grating party and honorable ceremony.