Due to the countless reasons affect the intangible cultural heritage of Mongolia, number of heritage elements are on the very brim of extinction. Therefore, establishing concrete and inclusive system for the safeguarding of the ICH is crucial in Mongolia.\nOne of the measures taken by various stakeholders for the protection of ICH as well as development of overall safeguarding capacity of ICH was the Mongolian-Korean Joint Cooperation Project ‘Establishing a Safeguarding System for ICH in Mongolia’. This project was launched in 2008 by Mongolian National Commission for UNESCO. By the implementation of the first-phase activities under the framework of the Project, a number of meetings were held among the Project partners, implementers and coordinators.\n\nWithin the framework of the second-phase of the Project:\n- Continuation of field surveys in other regions, including Central, Eastern and Gobi aimags\n- Organization of the symposium and workshop on the issues of intangible cultural heritage and safeguarding thereof\n- Elaboration of tentative list of ICH and its bearers\n- Text preparation of guidebook of ICH in Mongolia were planned to be implemented respectively

The master is making a Kazakh carpet in the photo. Kazakh carpets are woven or knitted, typically using three main materials wool, natural cotton, and silk fibers. In some cases, camel or goat wool is used. As a rule, nap fibers of wool are used to make knots in hand-carpet weaving.

It includes folklore music, dancing, and art performance shows. The folklore music sphere includes various forms of maquoms, feruzs, and tanovars, and different genres, including alla, o‘lan, yalla lapar, madhiya, terma, and khalfachi. The dancing sphere includes geographically diverse national styles as solo performances, duets, group dancing, men’s dancing, women’s dancing in addition to the forms of Khorazm, Bukhara, Ferghana, and Surkhon oasis dances.\n\n1. Katta Ashula\nKatta ashula (a song performed with a plate) is specific to the Uzbek traditional song trend of Ferghana Valley. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, katta ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style.\n\n2. Lapar\nLapar, a folklore song genre performed without musical instruments, is characterised by the narrow diapason and rhyme reiteration, which are not complicated by the melodic composition. The lapar is performed by girls and boys who compete with each other in the form of dialogue. In this competition, any girl in the circle can address any boy with lapar question, and the boy has to respond with lapar song. If the answer is appropriate, the boy is presented with gift of a handkerchief or a belt-kerchief.\n\n3. Askiya\nAskiya (witty joking) is a national art peculiar to Uzbek people. Askiya cannot be found in the cultural traditions of other people, in terms of humorous wit with the participation of many people in the form of live contest. Askiya is made up of plays on words and puns, both of which require life knowledge, skill, creativity, wisdom, and a high level of intelligence. Askiya masters who compete before big audiences openly and good-heartedly make sharp and witty jokes about the events and shortcomings of daily lives of their contemporaries.\n\n4. Show Arts\nIn Ferghana, the unique national customs, habits, and traditions are preserved. One of them is dorbozlik (ropewalking), which has been passed down for centuries from one generation to the next. These show programmes demonstrate colourful performances of diverse groups such as puppeteers, askiya jokers, lapar and o‘lan singers weightlifters, ropewalkers, snake charmers, all of whom are held with high regard and interest.

▶ Play Video 1. The World of a Maguindanao Virtuoso: This episode was first aired on Filipino television on August 18, 1994. This episode has been modified from its original format.\n\nThe Maguindanao (Magindanaw, Maguindanaw, Magindanao, Maguindanaon, Magindanaoan, Mindanao) form one of the large ethnic groups of the country. Most of the members are concentrated in the municipalities of Dinaig, Datu Piang, Shariff Aguak, and Buluan, in the province of Maguindanao.\n\nConstant contact with the Spaniards led to naming the entire island after the Maguindanao. The people practice Islam; their culture and social structure are deeply tied to this eligion, forming a conformity without which the group would not have been able to resist the incursions of the Spanish conquistadores. One of the three Philippine sultanates is aguindanao. The Maguindanao sultanate at one period in history could claim ritual authority over southwestern Mindanao. Their socio-political system and the hierarchical structure of their society are complex and similar to that of the Sulu sultanate.\n\nThere are three royal houses: Maguindanaon in Sultan Kudarat, Buayan in Datu Piang, and Kabuntalan in Tumbao, all of which trace their lineage to Sharif Kabunsuan, one of the earliest Muslim missionaries, and Sultan Kudarat. Customary law (adat) is applied, embodied in oral traditions and in accordance with the Paluwaran code, which contains provisions for very aspect of life.\n\nThe culture is characteristically lowland with a special adaptation to marshland, and wet rice is the staple food. Arts and crafts are well developed, exhibiting sophistication in eaving. Through waste mold technology metalwork and with the double-bellows Malaysian forge, they produce a wide range of bronze artifacts including betel-nut boxes, gongs, knives, racelets, and even the Southeast Asian cannon, the lantaka. The lantaka is not used just in warfare, but also as a prestigious status symbol.\n\nTheir ornamental art employs very characteristic design motifs that show affinity with the rest of Southeast Asia while retaining a distinctive ethnic identity. Their musical nstruments include a unique crocodile-motif version of the ubiquitous two-stringed lute, the kutyapi; the kulintang, which comprises eight brass gongs of graduated sizes; and the very large and deep agong, as well as various drums and flutes. Their music is characterized by drone and permutation.

ICHCAP, in collaboration with UNESCO Bangkok Office, held the Intangible Cultural Heritage Webinar Series from June to August 2020 with a total of four sessions. The 23 speakers from 18 countries met with the public to grapple with alternative practices and emergent modes of delivery in various areas such as heritage education in the universities, networking amongst educational institutions for ICH safeguarding, development of ICH curricula in times of crisis, as well as inter-regional cooperation for cross-cultural instruction and learning.\n\nWhile the entire world is struggling with the impacts of the COVID-19, the ICH sector also has been hit hard by numerous public health measures such as the cancellation of major festivals and events, temporary shutdown of museums, and places of cultural activities, as well as the indefinite halting of formal and informal heritage transmission activities. How can ICH safeguarding and transmission thrive in the midst of an unprecedented pandemic, and what role can higher education institutions play to ensure the viability of living heritage in our times? ICHCAP organized this webinar series to answer these urgent questions that we all face today.\n\nIn the first session of the ICH Webinar Series on 18 June 2020, we looked into the state of ICH safeguarding in the region, attending to how it has been conditioned by the pandemic and how various activities have been reshaped in order for them to maintain their purpose while also considering the protocols observed to curb coronavirus transmission.\n\nPresentation1 UNESCO Online Survey Results on Living Heritage Experience and the COVID-19 Pandemic by Juliette Hopkins, Living Heritage Entity, UNESCO\nPresentation2 Reviving the Living Landscape System of Lai Chi Wo for Urban Sustainability by Anna Yau, Project Manager, The University of Hong Kong\nPresentation3 Living Heritage Experiences in the Context of the COVID-19 Pandemic in Singapore by Yeo Kirk Siang, Director, Heritage Research and Assessment, National Heritage Board of Singapore\nPresentation4 Disaster as Opportunity by Christopher Ballard, Professor, The Australian National University, Australia\nPresentation5 Te-er/Tengao: The Significance of the Compulsory ‘Rest’ Day of the Bontoks in Mt. Province in the Context of COVID-19 Pandemic by Eric Zerrudo, Professor, University of Santo Tomas University, Philippines

Audio and Video Materials Collected from the Onsite Survey in the Ferghana Valley_2012 Uzbekistan-ICHCAP Joint Cooperation Project of Producing Digital Contents on ICH\n\nThe glorious intangible cultural heritage (ICH) of Ferghana Valley encompassing the state of Ferghana, Andijion, and Namangan in Uzbekistan includes oral traditional, performing arts, traditional rites and festive events, and traditional crafts. However, this heritage is largely unknown to the public in the nation and abroad, and it is fading out even more rapidly due to the young generation’s lack of interest.\n\nSince 2011, the four Central Asian countries, including Uzbekistan, have been implementing a three-year project, Facilitating ICH Inventory-Making by Using Online Tools for ICH Safeguarding in the Central Asian Region as a Central Asia–ICHCAP cooperative project. In the framework of the project, the countries have collected ICH information and tried to build an online system for managing the collected information.\n\nIn Uzbekistan, the Republican Scientific and Methodological Centre of Folk Art, under the Ministry of Culture and Sports of the Republic of Uzbekistan, in collaboration with the National Commission of the Republic of Uzbekistan for UNESCO, implemented the three-year project. They collected information on ICH elements in the Ferghana Valley (Andijan, Namangan, and Ferghana regions), Zarafshan Oasis and Southern Uzbekistan (Jizzakh, Samarkand, Kashkadarya, and Surkhandarya regions), and the Republic of Karakalpakstan (Navoi, Bukhara, and Khoresm regions) through onsite surveys from 2012 to 2014.\n\nIn 2012 when the first onsite survey was concluded, Uzbekistan and ICHCAP selected representative materials among collected videos, audios, and photos on ICH elements and ICH bearers, and compiled the materials as a ten-CD/DVD collection. Also, booklets in English, Uzbek, and Korean were made to spread related information to a wider audience.\n\nFerghana Valley is also home to Tajikistan, Uighers, and Turkistan. In the other words, different traditions co-exist in the same place. ‘Katta Ashula’, which integrates arts, songs, music, and epics, is one Uzbek cultural heritage representing the identities of the diverse people live in the valley. The collection could preserve the disappeared and disconnected ICH and encourage increased mutual understanding and communication by spreading the information widely from the experts to the people.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

Audio and Video Materials Collected from the Onsite Survey in the Ferghana Valley_2012 Uzbekistan-ICHCAP Joint Cooperation Project of Producing Digital Contents on ICH\n\nThe glorious intangible cultural heritage (ICH) of Ferghana Valley encompassing the state of Ferghana, Andijion, and Namangan in Uzbekistan includes oral traditional, performing arts, traditional rites and festive events, and traditional crafts. However, this heritage is largely unknown to the public in the nation and abroad, and it is fading out even more rapidly due to the young generation’s lack of interest.\n\nSince 2011, the four Central Asian countries, including Uzbekistan, have been implementing a three-year project, Facilitating ICH Inventory-Making by Using Online Tools for ICH Safeguarding in the Central Asian Region as a Central Asia–ICHCAP cooperative project. In the framework of the project, the countries have collected ICH information and tried to build an online system for managing the collected information.\n\nIn Uzbekistan, the Republican Scientific and Methodological Centre of Folk Art, under the Ministry of Culture and Sports of the Republic of Uzbekistan, in collaboration with the National Commission of the Republic of Uzbekistan for UNESCO, implemented the three-year project. They collected information on ICH elements in the Ferghana Valley (Andijan, Namangan, and Ferghana regions), Zarafshan Oasis and Southern Uzbekistan (Jizzakh, Samarkand, Kashkadarya, and Surkhandarya regions), and the Republic of Karakalpakstan (Navoi, Bukhara, and Khoresm regions) through onsite surveys from 2012 to 2014.\n\nIn 2012 when the first onsite survey was concluded, Uzbekistan and ICHCAP selected representative materials among collected videos, audios, and photos on ICH elements and ICH bearers, and compiled the materials as a ten-CD/DVD collection. Also, booklets in English, Uzbek, and Korean were made to spread related information to a wider audience.\n\nFerghana Valley is also home to Tajikistan, Uighers, and Turkistan. In the other words, different traditions co-exist in the same place. ‘Katta Ashula’, which integrates arts, songs, music, and epics, is one Uzbek cultural heritage representing the identities of the diverse people live in the valley\n\nThe collection could preserve the disappeared and disconnected ICH and encourage increased mutual understanding and communication by spreading the information widely from the experts to the people.

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 40 is 'Rites of Passage, a Journey to Adulthood.'

ICHCAP, in collaboration with UNESCO Bangkok Office, held the Intangible Cultural Heritage Webinar Series from June to August 2020 with a total of four sessions. Beginning with the first session discussing the safeguarding of intangible cultural heritage (ICH) during COVID-19, the 23 speakers from 18 countries met with the public to grapple with alternative practices and emergent modes of delivery in various areas such as heritage education in the universities, networking amongst educational institutions for ICH safeguarding, development of ICH curricula in times of crisis, as well as inter-regional cooperation for cross-cultural instruction and learning.\n\nThis collection includes the programs and presentations of all the four sessions of the ICH Webinar Series.