"About the Centre for Intangible Heritage Studies (CIHS) The Centre for Intangible Heritage Studies (CIHS) is an academic center based at the Sree San- karacharya University of Sanskrit, Kalady (SSUSK) in the state of Kerala in India. It is the first academic center in India established exclusively for the study of intangible heritage. It should be noted here that the discipline or subject of intangible heritage is relatively new, coming into existence only with the launch of the 2003 UN Convention for the Safeguard- ing of the Intangible Cultural Heritage (ICH). Up to then, all discussions on heritage were restricted to its tangible aspects. More than a decade since the 2003 Convention, there remains a lack of awareness about."

Asailing canoe was a material symbol of men’s skill and their pride on Mwoakilloa (formerly Mokil) Atoll in Micronesia. Acquiring the techniques to build a sailing canoe was difficult, and this is why learning the techniques was a rite of passage into manhood and criterion for marriage. At a marriage proposal, the man proposing used to be asked if he could make a paddle or bailer, implying a sailing canoe. The accomplishment of building one’s first sailing canoe was celebrated by a special launching ceremony called wospwij. The late Boaz Poll stated that “men used to have sailing canoe races as contests of manhood.” Even today, for those who remember the olden days, the Mwoakillese sailing canoe symbolizes traditional standards of men: competitiveness, cooperation, and hard work.

In the context of maritime realm, when people hear about Sulawesi Islands, they might directly think of Coral Triangle Ecoregions (CTE). This is because since the declaration of Coral Triangle Initiative, a multilateral cooperation of six nations (Indonesia, Malaysia, Brunei Darussalam, the Philippines, Timor Leste and Solomon Islands) to save guarding the productivity and sustainability of the Coral Triangle Ecoregions in 2009, these regions have attracted worldwide attention on its coral reef and associated ecosystem bio-diversity. Sulawesi Islands sit at the center of the regions (Figure 1). As the name implies, CORAL Triangle ECOREGIONS, people’s focus of attention is coral reef and associated ecosystems. Or, to put it in different words, the focus of attention is the natural ecosystem. Thus, the mainstream narratives about CTE is about bio-diversity, conservation and the ecosystem services to human being (see for example The Nature Conservancy 2008, CTI brochure). \n\nNonetheless, there is a serious concern on the sustainability of the regions. International institutions such as the World Ocean Council notes ‘as a global center for marine biodiversity, the CT is a major conservation priority. The CT’s environmental diversity and economic value are threatened by climate change, urbanization, overfishing, and other impacts. With these threats affecting six countries in the region, leaders created the Coral Triangle Initiative (CTI). Officially titled the Coral Triangle Initiative on Coral Reefs, Fisheries and Food Security (World Ocean Council 2016).

The culture in the East Coast of Malay Peninsula are rich in visual and performing arts inherited over time immemorial. The art is also found to have similarities in three different states, despite their geographical gap. The similarities are shared in dialects, languages, presentations, builds, and past legacy artifacts. The Malay craftsmanship is also dominated by the Malay community in the East Coast and it is also produced in the form of art and fashion. Artifacts such as boats, houses, and furniture are still visible until now and they have high artistic value. This paper is aimed at displaying the various type of Malay traditional boats and symbols produced by the Malay community on the craft of the boat. There are several name of the boats produced by local craftsmen based on their function and usability. For example, a small line boat is used in river and coastal areas, the payang boat used by deep-sea fishermen, and the jokong boat is used to transport heavy goods. The art can be seen in the carvings and paintings produced on traditional Malay boats craftsmen in the East Coast. This art does not only serve as an ornament and for its aesthetics, but also has its own symbolism. The decorative art produced shows that the three main aspects necessary in Malay art are function, aesthetics, and ethics. The belief in the existence of supernatural powers – which preserve and safeguard their safety at sea and their ability to get income from marine products – underpins the craft of this decoration art.

The ships of Joseon Tongsinsa (diplomatic mission to Japan), a symbol of cultural exchange between Joseon and Japan, became the subject of a study as part of an academic restoration project that examines government-built ships as a means to unveil the original form of Joseon warships, including the panok ship and turtle ship.

This research discussed the intangible aspect such as philosophy and local insight that lies in the traditional house of Joglo Pencu Kudus from Indonesia and Hanok from Korea. Based on the result of research found that both traditional houses have the philosophy to respect nature and can adapt to the environment around them. Hanok can adapt to two extreme seasons (harsh winter and humid-hot summer) while Joglo Pencu Kudus can adapt to two seasons (rainy and dry). \nMoreover, the materials used in both traditional houses are natural and originate from the environment. Some constructions support sustainable development and it can be developed or combined further with the recent necessity. Some of its constructions can deal with the earthquake and heavy storm. Even some local insights can be applied directly such as natural waterproof from Hanok and natural substance for the preservation of wooden houses from Joglo Pencu Kudus.

Traditional coastal communities possess marine knowledge that enable them to live with and live on resources in different eco-niches like intertidal strands, mangroves, mudflats, beach forest, and coral reefs. Chao Lay (which means Sea People in Thai language) or former sea nomads of Thailand are indigenous groups who used to make temporary settlement on islands and along the coastal areas. The sub-groups of Moken, Moklen and Urak Lawoi, total of 43 villages in southern Thailand, have intangible marine heritage that facilitate their wise uses of marine and forest areas for centuries. The Chao Lay are said to have the great ability in, “reading the water to remember the wind, and reading the sky to remember the star” (Kuain 2008). At present, marine knowledge and skills remain significant in some communities. The case in point is Rawai beach community in Phuket Province in southern Thailand, where two sub-groups of Chao Lay, the Urak Lawoi and the Moken have chosen this area as a settlement hundreds of years ago; not only because of the shallow water near the beach and the nearby coral reefs, but also because it is a bay that is sheltered from the winds from two directions. So the place is very suitable for both living and for foraging and fishing with abundant land and marine resources. The knowledge of settlement site selection is very crucial, and most of the Chao Lay villages on the islands and shore are located in the bay or beach protected from the wind and storm. Fresh water can be easily found nearby in the form of spring, stream, or pond.

Bamseom, located between Yeoido-dong, Yeongdeungpo-gu, and Seogang-dong, Mapo-gu, in Seoul, is a village that used to be known as being home to boatwrights. As well as a means to travel to other regions across rivers and seas and to freight large loads at a time, the ship also has important symbolic meanings in Korean traditional culture. As part of the process of developing Seoul, explosives were detonated on Bamseom on 13 February 1968, in anticipation of which the residents moved to the nearby Changcheon-dong neighborhood. Since the twentieth century, the development of railroads and automobiles, and the associated construction of roads and big bridges, reduced the effectiveness of water transportation. This migration from Bamseom and the decreased need for boats drove boatwrights into a crisis, as a result of which they eventually became housebuilders.

Since the organizers of this international academic conference sent the four essays to be featured in Session 1 in advance, I will present my opinions and questions regarding the said four essays and end by opening shared agendas for discussion based on the aim of this international academic conference, which was organized as a way to contribute to the transmission and growth of traditional maritime culture in the Asia-Pacific region.

The harp is one of the earliest musical instruments of the world. World musicologists believe that the Harp was a musical instrument used by ancient man who hunted with bows and arrows. Harps now being used by people of the contemporary world fall into two types the bow shaped type and the trangle shape type. Of the two the bow shaped harps are said to be the earlier type.\nIn Myanmar, ancient chronicles say that harps were being played as early as in the Pyu Period. In February of 802 A.D. Sri Khettra despatched a Pyumusic and dance ensemble to Chan-ann the city of the Tang Dynasity of China. Tang Dynasty chronicles say that the Pyumusicians had with them two harps with pheasant’s head shapes, two harps with corcodile’s head shapes, one flat harp in the shape of a dragon’s head, one flat harp in the shape of rain clouds, two flat harps of big gourds, one flat gourd-harp with a single string and one small flat gourd-harp. \nAmong rock relief sculptures found on the walls of the Ananda pagoda built by king Kyansittha in A.D 1084- 1113 is a harp which indicates that the harp was in general use in those days. \nSome historical researchers say that Myanmar harp began with 7 strings and is used 13 strings until the down of Konbaung period. And then the harpist U Nyein added one more string in the late of Konbaung period and the harpist U Ba Than added two more strings in the year of 1960s. So Myanmar harp has played with16 strings from that time to now. \nMyanmar harp strings are strung and fastened to the arm of the harp by means of fastening cords or by means of pegs pushed through the arm it is called Let yone. In the old days, fastening cords were tied to the arm in a special kind of knot to prevent the cords slowly slipping down. The present way of making such a knot is of a reef-knot method. \nThe strings of the harp are raw silk twisted to different thicknesses. They are tuned not with pegs but by adjusting the tautness of the strings through loosening or tightening the tassels round the neck. \nThe part where the neck joins the sound box is shaped like a leaf of the saga: (champac) while the stern is shaped like bowl. The tip of the nek is shaped like the leaf of the banyan tree. The neck is made of sha: (acaciacatechu) wood. The sound box is covered with a membrane of deer skin. \nHoles are perforated along the ridge to hold the ends of the strings. The intervals between the holes need to be of correct proportion, otherwise, the harp tends to be out of tune and also lacks proper form. \nHence, the ridge is a critical component of the harp. Today Myanmar harp is being used not merely as musical instruments they are also being used as artifacts to decorate the top room of dwellings. This is being done by way of honouring a musical instrument that has played an important role in development of Myanmar Culture. More sophisticated musical gaegets may emerge time passes, but the harp will ever remain as a heritage of Myanmar musical traditions.

Located in the southern part of the Red River Delta, Ha Nam province bears cultural traces of the ancient Viet, where such typical cultural heritages as Trần Thương Temple Festival, Tịch Điền festival (the annual plowing festival), drum making craft of Đọi Tam village, weaving craft of Nha Xá village, martial arts of Liễu Đôi village, etc have been preserved. This land is also famous for a rich and valuable treasure of literature and folk performing arts such as Dậm - Quyển Sơn singing, Lải Lèn singing and especially Trong quan singing that hardly seen in any localities.