Quan họ Bắc Ninh folk songs\nQuan họ Bắc Ninh folk songs that have been created and supplemented for generations, are alternating response songs between male and female singers who have resided on the two banks of the Cầu River in ancient Kinh Bắc region.\nOn September 30th, 2009, Quan họ Bắc Ninh folk songs were inscribedon the Representative List of the Intangible Cultural Heritage of Humanity by the Intergovernmental Committee for 2013 UNESCO Convention on Safeguarding of intangible cultural heritage, taken place in Abu Dhabi, the capital of the United Arab Emirates.\n

In the past, plates and cups were not provided for any visitors in Bhutan. Everywhere people must travel with their own plates and cups as this is part of traditional etiquette. Usually, people bring at least two Phob (traditional wooden cups) and a To-rey (a piece of cloth) instead of a plate. The size of the To-rey must be kha-gang, which means slightly more than half a meter and slightly less than a meter, which is equivalent to a two-foot square. This size and quality of the To-rey applies to every person, regardless of status. The Phob wrapped in the To-rey is carried everywhere in the Hem-chung (Gho-pocket or hanging bag) of our Gho and Kira (traditional Bhutanese clothing).\n\nThe cups come in a variety of shapes and varieties and are made of different types of grains. There are cups with silver and gold layers on the rim and inside the cups, or plain wooden cups that signify the different status of the people depending on the quality of the cup used. There are certain cups that may only be used by monks and lamas (Buddhist spiritual leaders). This is usually the La-phob (monk's cup), which does not have exquisite decorations like the Phob of common people. However, the La-phob has historically used different colors to denote different monastic titles.\n\nOn formal occasions, when we sit with our legs crossed or in meditation posture, the To-rey must be able to cover the surface of our leg. It was not until the turn of the 20th century that people began to keep extra plates and cups for guests, as there had been no development until then and the country and its citizens were economically backward. This happened only when people began to import tableware into the country from abroad. Until then, people used phob (wooden cups), Dha-pa (wooden plates) and Bang-chung (hand-woven bamboo plates). Each household member owned a Dhapa or Bang-chung, at least two Phobs, and a To-rey, which served as a shawl and a cleaning cloth for the plates and cups. The plates and cups were wiped with the To-rey, which was cleaned after a few days, as there was no tradition of washing the utensils.

In the past, plates and cups were not provided for any visitors in Bhutan. Everywhere people must travel with their own plates and cups as this is part of traditional etiquette. Usually, people bring at least two Phob (traditional wooden cups) and a To-rey (a piece of cloth) instead of a plate. The size of the To-rey must be kha-gang, which means slightly more than half a meter and slightly less than a meter, which is equivalent to a two-foot square. This size and quality of the To-rey applies to every person, regardless of status. The Phob wrapped in the To-rey is carried everywhere in the Hem-chung (Gho-pocket or hanging bag) of our Gho and Kira (traditional Bhutanese clothing).\n\nThe cups come in a variety of shapes and varieties and are made of different types of grains. There are cups with silver and gold layers on the rim and inside the cups, or plain wooden cups that signify the different status of the people depending on the quality of the cup used. There are certain cups that may only be used by monks and lamas (Buddhist spiritual leaders). This is usually the La-phob (monk's cup), which does not have exquisite decorations like the Phob of common people. However, the La-phob has historically used different colors to denote different monastic titles.\n\nOn formal occasions, when we sit with our legs crossed or in meditation posture, the To-rey must be able to cover the surface of our leg. It was not until the turn of the 20th century that people began to keep extra plates and cups for guests, as there had been no development until then and the country and its citizens were economically backward. This happened only when people began to import tableware into the country from abroad. Until then, people used phob (wooden cups), Dha-pa (wooden plates) and Bang-chung (hand-woven bamboo plates). Each household member owned a Dhapa or Bang-chung, at least two Phobs, and a To-rey, which served as a shawl and a cleaning cloth for the plates and cups. The plates and cups were wiped with the To-rey, which was cleaned after a few days, as there was no tradition of washing the utensils.

Originally Dabus wasn’t a dance but a form of self-defence. Dabus’s concept is warriorism. Hence, the Dabus dance demands aptness, speed, heroism and happiness in dancing it. Dabus is one of the traditional dances in Perak that manages to withstand since more than 200 years ago. This art form combines the elements of music, songs, dance as well as bravery, and normally performed in festivities events. There are three dance movements in the Bagan Datoh Dabus that are Hayun Tajak, Helang Sewah and Susun Sireh. Helang Sewah and Hayun Tajak are performed by male dancers while Susun Tari by female dancers. These dance movements are accompanied by the beating of the dabus hand-held drum and religious songs. The uniqueness of these dances is that using a pair of sharp instrument named ‘anak dabus’ literally translated as ‘dabus child’. In this performance with ritual essence the dancers pierce the instruments into their arms until bleeding. Then a religious person functions to lessen the pain due to the piercing by performing incantation, washing and tapping on the injury with remedied water. The performance is usually presided over by a ‘Khalifah’. Dabus is defensive and heroic in nature and iInitially only presented by male dancers. This is in relation to the ancient social order that discouraged girls from going out at night that invites disapproval from the community. Since the sixties women began participating in the dance. Dabus was recognised as a National Heritage in 2012.

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

The early history of the Nagas is shrouded in obscurity and many theories abound of their origin  and  migration.  How  and  when  they  came  to  settle  in  the  north‐eastern  region  of India is an unsettled question. \nSeveral  traditions  exist  within  the  multi‐ethnic  Naga  communities  on  their  origins. \nAccording to the oral traditions passed down through songs, folklore and word of mouth the Ao emerged from six stones at Long‐terok, which exists to this day near Chungliyimti, the first legendry settlement of the Ao. ‘Long’ meaning stone and ‘Terok’ six, refers to the six stones from which emerged three pairs of male and female progenitors whom the Ao claim  to  be  their  ancestors.  The  Ao  is  distinguished  with  two  phratries  –Chongli  and Mongsen. The Chongli claim  that the  three males and  females who emerged at Longtrok were Tongpok and his sister Lendina, Longpok with his sister Yongmenala and Longjakrep with  his  sister  Elongshe.  They  were  the  first  human  beings  who  emerged  at  Longtrok. \nEach  male  member  along  with  his  sister  formed  the  three  phratries  of  the  Chongli. \nTongpok founded the Imsong‐Pongen clan, Longpok the Longkumer clan and Longjakrep with  his  sister  founded  the  Jamir  clan  respectively.  The  three  siblings  intermarried  and through  these  marriages,  the  Ao  clans  came  into  existence  and  a  well‐  knitted  clan exogamy marriage evolved that is followed to this day. 

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 38 is 'Funeral Ceremonies and New Beginnings.'

Oral tradition consists of diverse narratives. It is passed on by word of mouth as everyday wisdom and transmitted through the generations. After that, it becomes infused in a region’s history, philosophy, and way of life, thus forming the foundation for a community’s knowledge systems. This volume introduces traditional tales in Sri Lanka, Palau, Kyrgyzstan, and Vietnam.

When we were young, we were told a lot of stories. Everyone hated the big, vicious, evil, and cunning animals. However, seen through grown-up eyes, there are no bad animals in the world. Animals personified in stories convey a message to the human world-that of peace and harmony. At a time when a message of peace is desperately needed, let’s enjoy some stories featuring various animals, from tigers to birds, rabbits, monkeys, and more.