Festival of the Hua Miao, Guizhou Province, China. 1997

Tonggu, Guizhou Province, China. 1990\n

The peacock is known as the king of the birds in Yunnan. The Dai people especially regard peacocks as symbols of luck, beauty and purity. Even today, people dance or watch the Peacock Dance during joyful occasions or festivals. Many dances among the folk dances of the Dai mimic the movements of animals. The Peacock Dance is the most famous and popular among such dances. There is a set order and format to the Peacock Dance. It consists of movements depicting it coming out of the nest, surveying its surroundings nimbly, walking calmly, find water, drinking water, playing with leisure, flapping its wings or folding and spreading its wings. Although the role of the peacock is usually played by a female dancer these days, it used to be performed by a male dancer in the past. The Dai people make up the 11th largest ethnic minority group in China among the 56 officially recognized by the Chinese government. They are mostly concentrated in the Xishuangbanna Dai Autonomous Prefecture and Dehong Dai and Jingpo Autonomous Prefecture in Yunnan, and further spread out across Laos, Vietnam, Thailand and Myanmar.\n\nCharacteristics:\n∙Dance mimicking the movements of animals\n\nPerformed by Kunming Ethnic Song and Dance Company\nChoreographed by Yang Zhou

Intangible Cultural Heritage Elements of Ferghana Valley: Traditional Craftsmanship\n\nThe Ferghana Valley is a cradle of ancient Uzbek cultural traditions. In this area, creative folk arts, such as dancing, music, applied art, performances, and national games are highly developed and interconnected as are customs, traditions, and events. Uzbeks, Tajiks, Uyghurs, Kyrgyzs, Turks, Russians, and people of other national and ethnic backgrounds live in the Ferghana Valley. While they maintain and hold their own folk traditions, customs, and festivities, they also engage in Navruz and Mehrjon holidays with each other.\n\n1. Guli Arghuvon Festival\nThe expedition team to Ferghana Valley video-taped the Guli Arghuvon Festival that takes place every spring in the Do‘sti Khudo Graveyard in the Oltiariq District. The holiday is connected with the blossoming of the arghuvon plants (cercis siliquastrum) that grow in front of the graveyard’s mausoleum and stay in bloom for three days. While this particular event is not celebrated elsewhere, similar events, such as Qizil Gul or Guli Surkh (Red Flower), Lola Sayli (Tulip Festivity), Sunbul Sayli (Hyacinth Festivity), and Gunafsha Sayli (Viola Festivity), have found their way onto traditional calendars in different regions. Due to the historically agrarian Uzbek culture, many of its traditions, such as the Guli Arghuvon Festival and the others mentioned, are related to praising plant life and nature itself. Ancient faiths saw the eternity of nature with death coming in autumn when the trees lose their leaves and life returning when plants blossom in early spring. This point of view is the basis for many beliefs and events in agrarian cultures. The Guli Arghuvon Festival is based on ancient calendar events that unite agrarian beliefs and culture with ideas relating to harvests. Holding the event in a graveyard connects the idea that nature undergoes death and birth in the circle of seasonal change.

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

Intangible cultural heritage (ICH) is transnational in nature. It is necessary to spread the perception that ICH transcends geographical spaces and national borders, creating dynamic relations, connectedness, and continuity, which is why it is a timeless bearer of cultural diversity, the foundation of the heritage of humanity. However, as the modern structure of nation-state determines the boundaries of culture with national borders, forming the concept of “culture within the country”, subsequently led to the perception that the ownership of culture belongs to the state.\n\nThe concept of exclusive ownership of culture is often controversial in the UNESCO listing process, particularly in instances where cultural heritage and cultural domains have been shared for a long time by two or more nation-states. Such conflicts lead to excessive competition for nomination, overshadowing UNESCO’s fundamental purpose of contributing to peace and security in the world by promoting collaboration among nations, as well as the very spirit of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage that promotes international cooperation and assistance in the safeguarding of ICH as a matter of general interest to humanity.\n\nConsequently, UNESCO encourages multinational inscriptions of shared intangible cultural heritage to promote regional cooperation and international safeguarding activities, preventing conflicts among countries and coping with already existing ones. By emphasizing joint nominations of shared ICH, UNESCO revised its implementation guidelines three times to deal with conflicts between countries due to the cultural property rights. In addition, States Parties are encouraged to develop networks among relevant communities, experts, professional centres, and research institutes, particularly with regard to their ICH, to cooperate at the sub-regional and regional levels.\n\nAt the 13th Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage held in the Republic of Mauritius in November 2018, Traditional Korean Wrestling was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity as the first joint designation by the Democratic People’s Republic of Korea and Republic of Korea. This milestone in the life of the Convention demonstrates that ICH contributes to the peace-building, reconciliation, mutual understanding, and solidarity among peoples. Indeed, only when acknowledging that shared cultural values are empowering characteristics of ICH, the true perspective of the unifying agent of the cultural diversity can be achieved, and that it is the cornerstone of reaching peace among nations.\n\nCountries in the Asia Pacific region are deeply connected by a long history of interactions, exchanges, flows of people, goods, and ideas that have shaped shared values, practices, and traditions. Having a balanced view, advocating for cultural diversity, and recognizing the commonalities among individuals, communities, and countries as a strength are virtuous tenets in the present time.\n\nIn this regard, APHEN-ICH Secretariat, ICHCAP, and UNESCO Bangkok Office are inviting the APHEN-ICH member institutes and public to this seminar under the theme of Diversity and Distinctiveness: Looking into the Shared ICH in the Asia-Pacific, to re-assess that while fragile, intangible cultural heritage is an important factor in maintaining cultural diversity, connecting bounds, and enhancing international dialogue and peace.

Lusheng is an instrument made from thick and thin bamboo tubes, widely played among the ethnic minorities of Southwestern China. in this recording, three lusheng of different sizes create a unique harmony. The musicians were performing a dance with simple steps while playing.

Shange means ‘song of the mountains’ and are commonly sung by the people of southwestern China. They sing the songs while working and during breaks between work. The lyrics are usually about love between man and woman.

CD7_CA HUẾ (THE HUẾ SINGING) IN CENTRAL VIETNAM\n\nCa Huế (the Huế singing) was a special traditional chamber music in Huế, a central city of Vietnam. Ca Huế originated from royal music. “There was the chamber music, serving the Nguyễn Kings and their mothers”. At first, Ca Huế was the chamber music performed in the palaces of royal families, mandarins, and wealthy people. After that, it spread to common communities. Ca Huế has been gradually influenced by many Huế folk musical types. During its development, Ca Huế affected royal music; for example, ten bản Tàu musical pieces (or it can be called ten bản Ngự or Thập thủ liên hoàn) were played in sacrifice ceremonies or some occasions in the court by royal instrumentalists. Ca Huế is the essence mixture of folk music and royal music, which creates the special nuance satisfying the artistic demand of the elite intellectual class and the common class. As a result, in the past, during happy occasions such as New Year ceremonies, parties for celebrating promotions, or parties for opening new businesses, Ca Huế was organised at the private houses of mandarins, the elite class, and Huế common people.\n\nIn the past, participants of Ca Huế included only the elite class, mandarins, and the people with erudite literary knowledge and with the ability to compose beautiful and profound lyrics. They played instruments together and shared their thoughts through instrumental music and singing. The singing and the instrumental music of one person was the inspiration for the singing and the musical composition of another. Group members were also the audiences. They enjoyed their mutual talents respectfully. In recent years, Ca Huế has been performed on stage to also serve the common people. In this musical type, there is a clear classification between composers, performers, and audiences like professional music. The interactive relation among group members of Ca Huế chamber music can be presently only found in Ca Huế in private houses.

CD9_MUSIC OF TRADITIONAL THEATRE IN VIETNAM\n\nThe traditional theatre is an indispensable element in describing the appearance of traditional Vietnamese music. The forms of traditional Vietnamese theatre are mainly practiced by the Kinh ethnic group and some ethnic minorities such as Khơ me and Nùng. Two special forms of traditional theatre with long histories are Tuồng (classical drama) and Chèo (traditional operetta) of the Kinh group. These art forms gather many elements, including literature, painting, music, dance, and drama.Tuồng was born in northern Vietnam and performed in the court, and then followed mandarins to central and southern Vietnam with a new name Hát bội or Hát bộ. Tuồng was perfected and reached its peak in the Central Vietnam from the seventeenth century to the eighteenth century in the Nguyễn dynasty. Tuồng was performed not only in the court but also in common communities and was loved by common people. At the end of the nineteenth century and beginning of the twentieth century, Tuồng still played an important role in the spiritual life of Vietnamese people, especially to the people in central and southern Vietnam. Tuồng was one of a few traditional Vietnamese artistic types, loved by the court and common people.\n\nIn its flourishing period, the artists of Tuồng were categorized into two ranks, including Tuồng thầy artists (professinal artists who are knowlegeable and have exemplary performance style) and Tuồng rong artists (semiprofessional artists who lack of knowledge and have seasonal performances, mainly giving impromptu performances in tuồng cường. The system of Tuồng is clearly categorized according to the content such as Tuồng pho (Tuồng with many acts and performed on many nights), Tuồng đồ (Tuồng with content closer to daily life and based on folk stories), and Tuồng tân thời (Tuồng with the stories from new novels). Special Tuồng plays called Tuồng ngự were selected by the Minstry of Rites to be performed for for the king’s enjoyment.

Under UNESCO Living Human Treasures Program, the project ‘Introducing UNESCO Living Human Treasures System in Mongolia’ has been successfully implemented in order to realize efforts in safeguarding intangible cultural heritage in Mongolia.\nThe main objective of this project aims to introduce and implement UNESCO Living Human Treasures System in Mongolia and so protect, maintain and encourage intangible cultural heritage and bearers in Mongolia within implementation efforts of the 2003 Convention.\n\nThe following activities have been defined and planned to implement within the project implementation work:\n\n1. Review and analyze previous research study materials, data information and field survey findings on intangible cultural heritage and its bearers in Mongolia, and make general overviews upon current situations of intangible cultural heritage\n2. Develop recommendations on designing a relevant legal framework for implementing UNESCO Living Human Treasures program in Mongolia and submit them to responsible governmental institutions for further approval and actions\n3. Organize exchange tours of expert teams implementing the project in South Korea and Mongolia and so share viewpoints and experiences in safeguarding and maintaining intangible cultural heritage in reality\n4. Appoint and send field research teams to some areas of Mongolia, namely some Western and Mongolian regional aimags in order to identify, survey, determine and document locations and distributions of certain bearers of intangible cultural heritage\n5. Develop draft proposals of ‘List of types and forms of Intangible Cultural Heritage in Mongolia’, ‘The List of Intangible Cultural Heritage in Need of Urgent Safeguarding’, ‘The Representative List of the Intangible Cultural Heritage of Mongolia’ and submit them to MECS\n6. Design an initial draft of reference manuals of intangible cultural heritage in Mongolia based on results and findings of all above reviews and research analysis. During the joint seminar meetings held on 12-13 December, 2008 the Mongolian and Korean expert teams withdrew general feedback upon ongoing implementation processes of the project and shared comments on achievements of project goals and objectives, in addition to defining some specific areas of further activities. It definitely contributed considerable inputs in efforts introducing ‘Living Human Treasures’ Program and thus safeguarding intangible cultural heritage in Mongolia

The Conference on exploring and safeguarding shared ICH in East Asia jointly organized by ICHCAP and the UNESCO Beijing Office and hosted by the Mongolian National Commission for UNESCO, was held on 10 September 2021.\n\nThis report is composed of eight case studies of East Asian Member States—namely China, Japan, Mongolia, and ROK.