Dale Jarvis is an Adjunct Professor at the Department of Folklore, Memorial University, and the Intangible Cultural Heritage Development Officer for Newfoundland and Labrador, helping communities to safeguard traditional culture. Dale has been working for Heritage NL since 1996, and holds a BSc in Anthropology/Archaeology from Trent University, and a MA in Folklore from Memorial University. In 2014, he served on the UNESCO Consultative Body to the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage. He regularly teaches workshops on oral history, cultural documentation, and public folklore.

Antoine Gauthier acts as director of the umbrella organization for the intangible heritage and cultural traditions of Quebec (Canada), recognized by the Ministry of Culture and accredited by UNESCO under the 2003 Convention. He carried out on behalf of this NGO several projects, consultations, conferences and training. As an expert in intangible heritage, he is regularly invited to speak at conferences around the world. Many of his writings deal with oral and living traditions, in particular a series of studies entitled "The cultural traditions of Quebec in figures". He is co-founder of the ICH NGO Forum.

Jacob MAPARA is cu「rently the Director of the\n \n\nCatego’Y\n \nInstitute of Lifelong Learning and Development Studies of Chinhoyi University of Technology, Zimbabwe. He is Professor and Chairperson for Centre for Indigenous Knowledge and Living Heritage. At present he is leading\nthe “Inventorying oral traditions, expressions , local\nknowledge and practices of the Korekore of Hurungwe district in Zimbabwe” pr이ect. He holds a Dlitt et Phil (PhD)\n \nand a Maste「s’\n \ndegree in African Languages from the\n \nUniversity of South Africa. He has an Honours degree in Shona (one of the languages of Zimbabwe) as well as a Graduate Certificate in Education from the University of Zimbabwe. In addition , Dr. Mapara holds a Certificate in Environmental Education (now Education for Sustainable Development) from Rhodes University, South Africa

Born in the Great Cold Mountains, Sichuan, Dr Qubumo Bamo originates from the Nuosu, a subgroup of the Yi people. She obtained her Ph. D. in Folkloristics at Beijing Normal University in 2003. She is Senior Fellow and Director of the Oral Traditions Research Center at the Institute of Ethnic Literature (IEL), Chinese Academy of Social Sciences (CASS). She also acts as Vice President of the China Folklore Society (CFS), an accredited NGO and a member of the Evaluation Body of the Committee. \n\nConcentrating on the links between the written and oral traditions of the Yi, she has conducted long-term targeted field study on various aspects of Bimo (ritualists) scripture culture and Yi oral narratives. She is the author of The Golden-Eagle Spirit and Poetic Soul: A Study of Archaic Poetics in the Yi's Scriptures (2000), Spirit Picture and Ghost Board: A Survey of Incantation Epos and Ritualized Paintings in Nuosu Yi Area (2004), and more than 130 articles. Her translation of Gregory Nagy’s Homeric Questions was published in 2008. Her newest book, entitled Verbal Dueling and Epic Performance, is in press, and is a revised edition of her dissertation, based on a targeted field study carried out in her hometown. She has recently been working as a principal expert on the National Key Project for Developing Metadata Standards for Documentation of China Ethnic Minority Oral Traditions. \n\nDr Bamo teaches courses on oral tradition, folkloristics, and ICH studies at University of Chinese Academy of Social Sciences (UCASS) for the PHD and MA graduate students. Topics of current research include epic tradition, oral poetics, ICH safeguarding and cultural policy. Her essays on ICH is in print (Beijing: Culture and Art Publishing House, 2021).\nSince 2004, she has been extensively engaged in the field of Intangible Cultural Heritage at local, national, and international levels, possessing competence and consulting expertise in policy-making, training design, lecture delivering, as well as programme evaluation for governmental organs, professional institutions, centers of communities, and universities. Since 2007, she has been active in the China Delegation to statutory meetings and events under the 2003 Convention. As one of the ICH Team (CFS4ICH) leaders in the China Folklore Society, she plays a central role in annual tasks.

The Institute of Papua New Guinea Studies (IPNGS) was established under the Cultural Development Act, passed by the Papua New Guinea House of Assembly on 14 October 1974. Papua New Guinea had become self-governing from Australia almost a year earlier, but independence was still about another year in the future. Today IPNGS is a national cultural institution under the National Cultural Commission Act. It moved to its present location towards the end of 1976. The distinctive welded sculptures on the outside walls and gates depict the Orokolo story of Aru Aru and his journey to the moon, as told by Sir Albert Maori Kiki.\nAlthough laws, governments, ministries, and even the location of the Institute have changed over the past four decades, the main focus has remained constant: the documentation, archiving, and promotion of Papua New Guinea cultures. Overseen by the Director, IPNGS is divided into departments for its present three main functions: Music (5 staff), Ethnology (3), Literature (1). There are also two staff in administration, and five casual workers. nResearch staff members under take research in villages and towns, or at festivals. Such research might be on specific topics, such as clan origin stories or the variety of dances performed at a particular festival, or more general survey work, such as documenting musical traditions in a particular village. While the primary focus is on traditional expressions, attention is also given to more recently developed expressions of culture, such as those performed in church or as part of widespread popular forms.\nThe Ethnology Department is responsible for documenting the many myths, legends, and other oral traditions found in the country. Publications have been produced in English as well as local languages, both to promote the maintenance of this important body of knowledge and to encourage vernacular literacy.\nFor many years, the Literature section was responsible for promoting creative writing, especially through the running of the annual National Literature Competition. Many submissions were made for categories such as novels, short stories, poetry, radio plays, essays, etc. The results appeared in our journals such as Gigibori, Bikmaus, and Sope, or as separate publications. We hope to revive the National Literature Competition in the near future.\nIPNGS Music Department has strived to develop its music archive to reflect all music-related research that has been done in the country. Although the collection can always be expanded, to a large extent this goal has been achieved.\nThe Music Archive presently contains about 12,000 hours of recordings on reels of tape, cassettes, discs, films, videos, CDs, and DVDs, with over 10,000 photos and 4,000 books, articles, and theses. These materials are a mixture of things collected by IPNGS staff, other researchers, commercially produced items, and historical recordings of PNG music from other archives around the world.\nAs with the other sections of the IPNGS, the Music Department has issued numerous publications. Presently, there is a series of cassette and disc recordings, a monograph series (Apwitihire), and a journal (Kulele). Our publications are widely used in the school system and have been well received overseas.\nIn total, IPNGS has produced about 250 publications, printed, audio, and films/videos. It has also played an important role in making materials published in languages such as German, Japanese, and local languages accessible through translations in to English or Tok Pisin.

The Yap State Historic Preservation Office (YSHPO), located in Yap State in the Federated States of Micronesia (FSM), operates under the Department of Youth and Civic Affairs of the Yap State Government and has a regular budget funded by the local government and the National Park Service (NPS) and the United States Department of the Interior (DOI). YSHPO also receives occasional funding assistance for projects, technical or capacity building, and training and workshops from esteemed regional and international organizations—such as UNESCO, ICHCAP, and CRIHAP—and various national governments, including those of Australia, France, United States, and the FSM. YSHPO also collaborates and networks with other regional organizations, universities, and other bodies. To name a few, they include the University of Oregon, the University of Guam, Queens College, La Trobe, and others by conducting field schools in Yap during academic breaks.\nYSHPO has five main functions: 1) collecting Yapese written and oral history, 2) registering and surveying cultural and historical properties, 3) inventorying and mapping cultural and historical sites and properties, 4) restoring and rehabilitating cultural and historic properties, and 5) performing general YSHPO administration, including NPS/DOI Historic Preservation Fund (HPF). The organization also occasionally assists and supports the operation of the Yap State Living History Museum. Of some related projects, ICHCAP has funded three in Yap: 1) Youth Meets ICH with OurYAP, an umbrella youth organization for all the youth clubs, including high school children in Yap State, 2) the Preliminary Survey on Dormant ICH Data in the Pacific with a mixture of project workers from the Waab Cultural Heritage Society (elders) and some young people along with YSHPO staff, and 3) the 2017 ICHCAP-YSHPO Joint Cooperation Project for Safeguarding Intangible Heritage by Digitizing ICH-Related Analogue Data of the FSM, which is still ongoing.

The principal role of the Vanuatu Cultural Centre since its establishment in the early 1960s has been to document and record the culture and cultural history of Vanuatu. This has been done by the Centre’s staff and a network of over one hundred volunteer fieldworkers. The documentation efforts focus on details of remembered histories and traditions; details of ritual practices, classification systems, and languages; details of cultural landscapes and particularly sites of cultural significance; and records of contemporary events of historical and cultural significance. The latter, which is essentially a history-in-the-making, is recorded on video as examples of material culture collected for museological display, but almost everything else is documented on audiotape. This is because our indigenous cultures are primarily oral, and therefore, all our cultural knowledge is retained and transmitted orally. This documented knowledge is held by the Centre and has been used as source material for the revival of certain traditional cultural practices no longer being practiced.

In the 1960s, Late Komal Kothari ,a renowed folklorist and ethnomusicologist and his very close friend, Vijaydan Detha an eminent Rajasthani writer realized that the problem of language covered the whole way of life of people and soon set out on a goal which became larger than collecting tales and songs. They further expanded their archival and research work in the field of folklore encompassing folk songs, folk tales, folk beliefs, proverbs, folk ballads, folk epics of long plays, folk gods and goddesses, social practices, rituals, fairs and festivals, rural food, nomads and pastoral ways of life. Until 1990’s they travelled more than 29000 villages to collect the large repository of cultural heritage both intangible (oral) in the form of audio video and tangible object’s of daily life made from natural resources. During 30years of intense study by them on folklore (in ethno-geographic regions) they finally looked into the traditional ways of knowledge transmission where the practice is to “learn but not to teach” in a structured way. In the year 1995 Komal Kothari got the recognition of his work by the Government of India and has been awarded Padma-Shree in 1983 and Padma Bhusan in 2004.