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.

- Children should not build a birdhouse in order to learn the Pythagorean Theorem.\n- Children should learn the Pythagorean Theorem in order to build a birdhouse.\n\nTouch. Feel the texture. Smell. Duplicate a shape, a pattern or a color. These are examples of what we call "action transmitted knowledge." A young lumberjack once stood quietly, observing the older man whose job it was to load the logs onto the long lumber sled and drive them to the mill. The older man had his own way of moving, he nearly danced with each log, lifting it, rolling it a little, using small motions to push it this way and that. Until quite suddenly everything was in place, ready to be transported on the sled. One day the young lumberjack saw that the older man had brought his five-year-old son with him. The boy walked behind his father, watching him and doing exactly what he did, easing a log, dancing with the load, mimicking each of his father's movements. At that moment, the young lumberjack realized that he was observing a transmission of knowledge from father to son.

Key matters on modern significance of intangible heritage and its safeguarding Intangible heritage is living cultural heritage which can express human’s wisdom and sensibility intactly by this time. Even though some of them already disappeared, are about to disappear and would disappear not before long, there still remain many of them in our thoughts and experiences. Such heritage is the infinite future resources and traces of the past that human can enjoy in this digital era. The traditional cultures can play a more important role for us in feeling human’s emotions and humanity in the digital era because they contain old human’s memories, and can be an economic means as well. These intangible heritages, in essence, may have the same function even though their forms are different. In particular, we can see that certain cultures spread to neighboring regions, which led to the creation of a new form of culture in a community that accepted them. This process is important as an asset for sharing humanity and at the same time becomes a meaningful source for each community to have its cultural identity as an expression of diversity of human thought.\nTherefore, how to preserve the shared or coexisting intangible heritage among cultural communities is a key topic in the international society today. Meantime, there have been some cases in which even though they are the same kind of heritage, certain heritages in some areas were inscribed on the list of World Heritage but others were pushed aside, in spite of their equally excellent values. In today’s fast-changing society, if culture is neglected even a little bit, it will disappear. Then, if it disappears, total amount of culture in that society will eventually shrink, which means that the future values will be lost. What is called culture inevitably comes to vanish without those who use it, no matter how creative it is. In order to preserve traditional heritage that may disappear at any time, it is an essential process to persuade the society, develop modern utility and seek for strategic methods, deeply thinking of its future value of such heritage.

For revitalize local crafts after COVID 19 pandemic, Joseph Lo proposes that in order to build greater resilience for the crafts sector to mitigate against future crisis, it is imperative to strengthen the linkages of craft products not only with other sectors but within the cultural system which it was initially made for. Focusing on the two case-studies - one in Bamiyan, Afghanistan, Joseph Lo suggested a new approach to prevent negative consequences of future global crisis.

Intangible heritage is living cultural heritage which can express human’s wisdom and sensibility intactly by this time. Even though some of them already disappeared, are about to disappear and would disappear not before long, there still remain many of them in our thoughts and experiences. \n\nSuch heritage is the infinite future resources and traces of the past that human can enjoy in this digital era. The traditional cultures can play a more important role for us in feeling human’s emotions and humanity in the digital era because they contain old human’s memories, and can be an economic means as well. These intangible heritages, in essence, may have the same function even though their forms are different. In particular, we can see that certain cultures spread to neighboring regions, which led to the creation of a new form of culture in a community that accepted them. This process is important as an asset for sharing humanity and at the same time becomes a meaningful source for each community to have its cultural identity as an expression of diversity of human thought. \n\nTherefore, how to preserve the shared or coexisting intangible heritage among cultural communities is a key topic in the international society today. Meantime, there have been some cases in which even though they are the same kind of heritage, certain heritages in some areas were inscribed on the list of World Heritage but others were pushed aside, in spite of their equally excellent values. In today’s fast-changing society, if culture is neglected even a little bit, it will disappear. Then, if it disappears, total amount of culture in that society will eventually shrink, which means that the future values will be lost. What is called culture inevitably comes to vanish without those who use it, no matter how creative it is. In order to preserve traditional heritage that may disappear at any time, it is an essential process to persuade the society, develop modern utility and seek for strategic methods, deeply thinking of its future value of\nsuch heritage. To preserve the intangible heritage, it is necessary to build the favorable environment in which communities with such technological culture can keep working on new creative works. For this, each society has to make continuous efforts in cooperation with communities not to wither this\nheritage away. These efforts are important not only in terms of the transmission of tradition but also as cultural resource to form sustainability for a society in the digital era. Here, we should pay keen attentions to preventing such intangible heritage from being fossilized, remaining fixed cultural system and eventually being eliminated. Intangible heritage should exist as one culture, but its way of expression should adapt to the senses and demands of a new generation by constantly making creative transformation. By doing so, the original form can be also preserved as a part of diversity. In other words, the practical benefit based on tradition is a prerequisite for the transmission through generations.

Performed in villages and closely attached to water rice agriculture, water puppetry is a unique performing art and is the intangible cultural heritage of the Viet people in the Northern Delta region of Vietnam. Created in the tenth century, the first historical record on water puppetry was inscribed in an ancient stele in 1121 called the Sung Dien Dien Linh in the Long Dọi Buddhist Temple of Ha Nam Province. The inscription reads that water puppetry was performed to entertain the king on the occasion of his longevity ceremony.

Not much is known about the history of block printing on textiles in the Philippines. Although one could safely assume that this craft found its way to the Philippines through the Sino-Philippine trade beginning in the tenth century or earlier. Or it could have been the Philippines’ pre-Hispanic interactions with the Hindu-influenced, pre-Islamic civilizations of neighboring Malaysia and Indonesia that block printing as a craft was introduced in the archipelago.

Block printing is a traditional techniques of textile design holding pride of place in the rich repository of Indian craft. Some scholars hold the view that it originated in China, and it came to India only in the twelfth century. Others cite fragments of printed cloth from Mohenjo-Daro or references in the Ramayana as evidence that it has existed in India since ancient times. The technique is unique in its ability to reflect both the creative ability of the designer and the sensibility of the printer-craftsmen. The creations of such bespoke production uniquely manifest the tiny imperfections that make it so highly prized. This singularity may never be achieved using automated machines.

There is no written history of the Maldives before its conversion to Islam 1153 AD. However, various archaeological and heritage sites bear evidence that the country has been inhabited for at least two thousand years (Mohamed, 2008). The 2019 published Cultural Heritage tentative list got 462 sites/buildings listed which are located all over the nation. The cultural heritage sites/buildings ranging from pre-islamic period (c.500BCE – 1153CE) to late modern period of British control (1835CE-1965) is included in this tentative list.

First, What areas are included in East Asia? This article deals with East Asian printing technology so it is necessary to give a thought on the area where printing technoloy was developed in pre-modern times. Even though there are differences depending on the order of time, countries where printing technology has developed are China and its neighboring countries such as Korea, Japan and Vietnam. Therefore, this article aims to look into characteristics in these countries, grouping them into East Asia category.\nSecond, what is the scope of printing technology? Printing is the technology for mass copy of texts. Human civilization of copying texts has evolved from oral transmission to transcription, from transcription to printing, from printing to digital copying. It has been only thousand years since printing began to be used in human society in earnest. Social needs drove a development of new technology, and craftsmen who has assimilated its knowledge and skills created new things. In other words, intangible needs and technology produced new tangible things. Diagraming of printing technology is as follows;\nSocial needs for printing → Craftsman and Technology → Woodblock or Movable - Type → Books\nIn this article, we will examine why printing technique was needed and what its social background in each area was, focusing on woodblocks and movable-type, two representative methods of printing technology in pre modern times.\n

Traditional music is a form of art capable of determining the survival of the safeguarding of tradition. This is related to the factor of increasing decline of people’s interest in the existence of tradition and increasing advancement of technology, which is considered a sign of modernity. It is as if technological advancement is considered one of the most important needs of the current age, which is then used as a yardstick to measure a person’s ability. Those who have not mastered technology are considered incapable of following the developments of the age, and thus the focus of society is more toward the development of technology. This will surely influence people’s interest in safeguarding the tradition, as the opinion arises that things related to tradition are considered obstacles toward developing technology itself. \n\nThus, technology and tradition are placed as being opposed to one another. On another side, the existence of tradition is often considered something old-fashioned, behind the times, and boring for the younger generation. Even arts practitioners and academics appear to be less interested in researching or doing treatment of new compositions so that the above tradition might become attractive to the younger generation. This article will not discuss all traditional music in Indonesia, but rather will focus on the matter of traditional music of the Dayak ethnic community as one of the original ethnic communities of Kalimantan island.

유네스코아태무형유산센터는 ICHNGO FORUM #HeritageAlive와의 공동협력으로 무형유산 종목도서인 리빙 헤리티지 시리즈 <전통악기>편을 발간하였습니다.\n\n다섯 번째 출판되는 리빙헤리티지 시리즈 <전통악기> 편은 아프리카, 아시아, 유럽의 사례를 소개하는 15명의 저자들의 원고를 담고 있습니다. 특히 저자들은 전승 위기에 처한 전통 음악의 현황을 공유하고, 2003년 협약이 강조하는 활성화 방안에 관하여 서술하고 있는데요, 음악이 가진 치유의 힘을 보여주는 책이라고 할 수 있습니다.