Aida Alymova is an anthropologist and a director of the Public Foundation "Consortium of Museums". She has a Ph.D. in History and her research topic was about the life and culture of the peoples of Central Asia in the late XIX - early XX centuries. For her work on the development and popularization of museums in Kyrgyzstan, she was elected as president of the National Committee of ICOM in Kyrgyzstan in 2019. Aida Alymova is also awarded a diploma from the Ministry of Culture of the Kyrgyz Republic for outstanding achievements in the field of culture. She also acts as a Museum expert at the Turkic Academy based in Nursultan, Kazakhstan.\n\nCurrently, as a director of the Consortium of Museums, she promotes museum development activities, with an aim to ensure the social purpose of museums as institutions for cultural, educational, and scientific functions. She coordinates and implements museum activities to solve professional and social issues and problems in the museums of the Kyrgyz Republic.

Dr. Saifur Rashid is a Professor of Anthropology at the University of Dhaka, Bangladesh and has been a member of the faculty since 1993. He obtained his PhD in Anthropology in 2005 from Curtin University of Technology, Australia, and worked there as a Post-Doctoral Research and Teaching Fellow from 2006 to 2008. Dr. Rashid has been working with various UN agencies, Government organizations, national and international NGOs, and academic and research institutions of home and abroad for last 25 years. His areas of research interest include E-Governance, Heritage, Indigenous Knowledge, Natural Resources Management, Ethnicity, Migration and Visual Documentation. He has published several books and written many research articles in refereed scientific journals. His recently authored and co-authored books include ‘Connecting State and Citizens: Transformation Through e-Governance in Rural Bangladesh (2018)’, ‘Traditional Medicine: Sharing Experience from the Field (2017)’ and ‘Pains and Pleasure of Fieldwork’ (2016), Intangible Cultural Heritage in Urban Context (2020). He has made a number of documentaries on various ICH elements of Bangladesh for ICHCAP and Google Arts & Culture and awarded Distinction Prize for one of the documentaries made for ICHCAP, South Korea. Dr. Rashid is now working on two book projects: one on ‘Intangible Cultural Heritage of Bangladesh’ and another on ‘Anthropology and Heritage’. He is also working on another two book projects: one on ‘Migration, Fraudulence and Social Mediation’ and another on ‘The Told and Untold Stories of Bangladeshi Migrants in the Europe’. Professor Rashid is a member of the ICH National Expert Committee of the Ministry of Cultural Affairs of the Government of the People’s Republic of Bangladesh and member of the executive committee of APHEN-ICH (Asia-Pacific Higher Education Network for Intangible Cultural Heritage) of ICHCAP. Professor Rashid visited more than 40 countries for attending meetings, seminars and conferences and gave lectures as key speaker and has been a Visiting Professor of Chonnam National University and Chonbuk National University, South Korea since 2015.

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.

Tiapapata Art Centre exists and is registered with the government of Samoa as a charitable trust, a nonprofit organization promoting traditional and contemporary arts and crafts. Its patron is His Highness Tui Atua Tupua Tamasese, Head of State of Samoa. With its vision of establishing a model art school fostering creative excellence in Samoa and the Pacific, the Tiapapata Art Centre’s mission is to provide an accessible and dynamic learning and creative environment that facilitates the achievement of educational, professional, and personal goals of students, artists in residence, and teaching staff in an atmosphere that fosters excellence in creativity, diversity, and innovation.\nThe Tiapapata Art Centre recognises the importance of Samoa’s intangible cultural heritage as expressed in its traditional arts and crafts, and the center is actively involved in promoting an understanding of this heritage through photography and films. Galumalemana, with the support of the Tiapapata Art Centre, has produced several films exploring Samoa’s creative economy. O le Aganuu Manogi a Sāmoa explores making and using fragrant coconut oil; Ole Aso ma le Fīliga, o le Aso ma le Mata’igātila examines using natural fibers in Samoa; tanoa features the making of the traditional wooden bowls used to serve ceremonial drinks called ‘ava; and tatau depicts the art of Samoan tattooing.

Bidu Lensu Mutin is a typical traditional dance from the community of the village of Suai Loro, Covalima Municipality.\n\nThis dance is performed in cultural occasions such as welcoming guests, inauguration of sacred houses, “sau batar” (corn harvest festival), and “tara bandu”. The movement and every step of the dance is following-up by traditional arrangement of music. Using a kind of dry palm leaf to give the sound and rhythm, and traditional song with local dialect give harmonies to the dance.\n\nThe dance have been passed from one generation to another and up to now it is still alive within the communities.\n\n---\n\nTais, Timor-Leste’s traditional textile, is a cultural heritage that has been passed from the ancestors, from generation to generation.\n\nTais has an important role in Timorese people’s life, starting from their birth until death. They use Tais to welcome guests, as well as to show their cultural identity and social class. It is also used as an object of value, for example, 'barlake' (dowry) which is given from family of bride to family of groom. Tais is used not only as an element to tighten the relationship between families, but also to pay penalty when people did not follow the rule within the community.\n\nTais is traditional clothes, which has men's style and women's style. In Timor-Leste, Tais has a variety of colors and motifs varying by ethnic groups. These days, cultural creative industry using Tais with respect to the tradition, is also growing.\n\nTais is made from cotton and natural plants are used to dye color. Production of Tais has been mainly done by women, since the past until now. Normally, Tais is woven manually using simple equipment such as 'atis', 'kida', and others. Process of producing Tais is complex and takes long time.\nTraditionally, Tais has been woven by individuals. However, some family members also contribute to mitigate the work of women weavers, such as in process of preparing cotton, 'kesi futus' (tie-dye) and dying cotton. These days, weavers also began to form groups to facilitate their weaving activities.

The Tebe Lilin dance is a traditional dance, practiced in the ancient times, where the coexistence of society was very strict in the activities.\n\nActually the dance still practicing and performing in the occasions of constructing sacred houses at the west part of the country, typically in Covalima Municipality.\n\nThe dance itself is combined with traditional songs, which expressing the meaningful of life, social interaction and connecting mind within the clan and relationships in the community.\n\n---\nTais, Timor-Leste’s traditional textile, is a cultural heritage that has been passed from the ancestors, from generation to generation.\n\nTais has an important role in Timorese people’s life, starting from their birth until death. They use Tais to welcome guests, as well as to show their cultural identity and social class. It is also used as an object of value, for example, 'barlake' (dowry) which is given from family of bride to family of groom. Tais is used not only as an element to tighten the relationship between families, but also to pay penalty when people did not follow the rule within the community.\n\nTais is traditional clothes, which has men's style and women's style. In Timor-Leste, Tais has a variety of colors and motifs varying by ethnic groups. These days, cultural creative industry using Tais with respect to the tradition, is also growing.\n\nTais is made from cotton and natural plants are used to dye color. Production of Tais has been mainly done by women, since the past until now. Normally, Tais is woven manually using simple equipment such as 'atis', 'kida', and others. Process of producing Tais is complex and takes long time.\nTraditionally, Tais has been woven by individuals. However, some family members also contribute to mitigate the work of women weavers, such as in process of preparing cotton, 'kesi futus' (tie-dye) and dying cotton. These days, weavers also began to form groups to facilitate their weaving activities.

Simple in design but rich in cultural significance, the Lakadou is a traditional musical instrument made entirely from bamboo, found in various rural communities of Timor-Leste. Often carved from a single stalk, it stands as a testament to the ingenuity of ancestral craftsmanship—an instrument that produces sound not with strings or metal, but with tensioned strips of its own body.\n\nThe process of making a Lakadou begins with selecting the right kind of bamboo—neither too young nor too old—so that it is flexible yet strong. Using only a knife or a small carving tool, the outer layer of the bamboo is partially sliced into thin, horizontal strips along the stalk, which remain attached at both ends. These strips act as the instrument’s “strings.” Small wooden pegs or bridges are then inserted beneath them to lift the strips slightly, allowing them to vibrate when plucked.\n\nWhen played, the Lakadou emits a warm, buzzing resonance that can be heard clearly in quiet, open-air settings. The tones are soft yet sharp, melodic yet earthy—reflecting both the material and the environment from which it is made. Each Lakadou has its own pitch and personality, depending on the size of the bamboo and the placement of the tuning pegs.\n\nTraditionally, the Lakadou was played during rituals, agricultural festivals, and informal gatherings. It could accompany dance, storytelling, or simply be enjoyed as a solo instrument under the shade of a tree. It was sometimes played to express emotions—joy, longing, or sorrow—or to pass the time during communal labor in the fields.\n\nWhat makes the Lakadou especially significant is its status as a self-contained instrument. It does not require any additional materials beyond the bamboo itself—no strings, no nails, no external fasteners—just natural design and human skill. This reflects a traditional ethos of sustainability and resourcefulness, values still highly regarded in rural Timorese life.\n\nWhile the instrument is still known in some communities today, its presence is fading. Younger generations are more familiar with modern instruments, and the skill of crafting Lakadou is no longer widely practiced or passed down. In some places, only a handful of elders remember how to make and play it, and the sound of the Lakadou has become rare in daily village life.\n\nEfforts to preserve the Lakadou are growing, however. Cultural festivals, school workshops, and local storytelling events have begun reintroducing the instrument as a piece of Timor-Leste’s musical heritage. Some artisans are even experimenting with new forms, adapting traditional techniques to contemporary performances.\n\nAs a musical tool, the Lakadou is humble. But as an expression of cultural identity, it speaks volumes. In its structure, sound, and spirit, it tells the story of a people who shaped their art from the land around them—and who, with care, may yet continue to do so for generations to come.

The Babadok is a traditional percussion instrument of Timor-Leste, central to the soundscape of communal dance, ritual, and celebration. With its deep, resonant rhythm, the babadok doesn’t just keep time—it sets the emotional pulse of an event, weaving together the steps of dancers, the cadence of songs, and the energy of the gathered community.\n\nTypically made from a hollowed-out log or wooden tube covered at both ends with animal skin—often goat or cowhide—the babadok is lightweight and portable. Struck with the hands or sometimes with short wooden sticks, it produces a sharp, dry beat that is both grounding and expressive. The drumheads are stretched tightly and tied securely with natural fiber ropes, sometimes decorated with paint or carved patterns. Over time, each instrument develops its own distinct tone, shaped by use, climate, and craftsmanship.\n\nIn traditional ceremonies, particularly dances like tebe-tebe or tebe-lilin, the babadok is the heartbeat of the performance. It provides tempo, signals changes in movement, and helps dancers synchronize their steps. More than a musical tool, the babadok becomes a channel through which emotions—joy, sorrow, gratitude—are communicated and shared. During ritual gatherings, it may accompany singing, recitation of oral histories, or moments of spiritual invocation.\n\nThe instrument is most often played by women, though in some regions both men and women participate. Its accessibility is part of its charm—anyone with rhythm, respect, and a sense of the tradition can learn to play. Children often grow up hearing the babadok played at family ceremonies or village festivals, absorbing its patterns and rhythms before they ever try it themselves.\n\nCrafting a babadok is itself an act of cultural care. The choice of wood, the drying and stretching of the skins, and the tying of the drum all follow methods passed down through generations. Elders often guide young artisans in this process, emphasizing not just the technique but the responsibility that comes with creating something used in sacred and social spaces.\n\nDespite its enduring importance, the babadok—like many traditional instruments—faces challenges in modern times. Mass-produced drums and changing musical preferences mean that fewer young people are learning to make or play it. Still, efforts are being made to preserve the tradition, with community performances, school programs, and cultural events placing the instrument back at the center of public life.\n\nIn the rhythm of the babadok, one can hear more than music: it is the sound of continuity, of people moving together, of ancestors remembered and futures imagined. Whether echoing across a dusty dance circle or softly beating in a sacred house, the babadok remains a powerful symbol of Timor-Leste’s living heritage.

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.

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

The genre Ru tends to perform within the familial environment, with a hypnotising nature that tends to be use to lull children.\n\nNam Bộ (Southern Vietnam) is the area resides on the south side of Vietnam, including six provinces in the East and 13 provinces in the West. On a geographically level, the land of Nam Bộ is a stable region, in contrast to its cultural environment that is constantly changing and evolving.\n\nNam Bộ is home to various ethnic communities, such as the Việt people, the Kh'mer people, the Chăm people, the Hoa people, the Châu Ro people, the S'tiêng people, the Mạ people...And so, this has created a legacy to Nam Bộ folk performances and culture on this land. However, project "Phong hoa ca vịnh" only limits to the performance traditions of the Viet people, specifically the genres of ru, hò, and lý.\n\nFrom what was described about the early 20th centuries, it is evident how Nam Bộ art performance scene has rapidly transformed. No longer the time where lovers freely conversing their hearts by the rivers, all has sank into oblivion. Even the ru melodies have stopped lingering on the mother's lips, lost within the memories of her children. Culture and its nature of constantly evolving have opened up a contemporary cultural space that can response with today's society. The cyberspace, despite being "unreal", but it's meaningful enough to create an environment that filled with the poetry of ru, the melodies of lý, the bustling groove of hò - Where they have gathered a range of humanly emotions.\n\nLullabies (Hát ru/ Ru) was created on the basis of the native landspace. There's an evident link between the genre of ru with other folk music genders, but also deep within the layers of historical and cultural memories. The ru of Nam Bộ was formed and passed down via the cultural foundation of Nam Bộ. This natural ecosystem and culture have given birth to a distinctive genre, where it's expressed through the lyrics, melodies, and sonic possibilities.\n\nThis project is sponsored by the British Council under the program Heritage of Future Past- A 2018 project which aims to conserve and cultivate the archive of Vietnamese music and film, especially focusing on the untapped values of these mediums that are under the threat of being forgotten. You can learn more about the Heritage of Future Past program via this link: https://www.britishcouncil.vn/cac-chuong-trinh/nghe-thuat/di-san-ket-noi.\n\nResearch by Mr. Le Hai Dang\nTranslated by Ms. Ha Hoang Minh Trang

CD3_FOLK SONGS OF NEPAL\n\nNepal is still extremely rich in folk songs, though these are less popular with younger generations. The music culture has traditionally been an oral culture passed down from guru to pupil. Many songs that have never been recorded or written down are thought to have been lost. Fortunately, several enthusiastic folklorists, musicians, singers, and researchers have made collections of folk song lyrics to promulgate them, focusing especially on the rarer and most endangered folk songs. We present here a few examples.

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.

Lialiaci is a publication of the iTaukei Institute of Language and Culture, Ministry of iTaukei Affairs.\nLialiaci means to ponder or reflect upon deeply. That is the intent of these articles and perspectives on culture. \n\nThe Vanua Spirituality will attempt to explain the ancient spirituality of the indigenous people of Fiji. Indigenous spirituality is important because it describes in totality the significance of the Vanua, its worldview and vanua ethos. \n\nFijian Bread; The people of Qoma are fisherfolk, and part of their traditional role is the presentation of turtle accompanied with a basket of Fijian bread 'madrainiviti' to the chief of Verata and Dawasamu. Before the introduction of wheat bread in Fiji, their ancestors were enjoying traditional bread made out of fermented root crops.\n\nThe five Cultural Protected Water Body (CPWB) Types in Fiji; A total of five CPWB were found to be practiced in Fiji.\n

ICHCAP published Intangible Cultural Heritage of Kyrgyzstan as part of its ICH and Society series. The newest volume introduces various intangible heritage elements of Kyrgyzstan. It is the eighth book in the series and is the result of a two-year joint project between ICHCAP and the National Commission of the Kyrgyz Republic for UNESCO from 2018 to 2019 to encourage the awareness of Kyrgyzstan’s intangible heritage.\n\nKyrgyzstan’s intangible heritage once faced a cultural disruption crisis during the Soviet system. However, consciousness of the crisis and many efforts to safeguarding ICH in Kyrgyzstan has helped keep many elements alive.\n\nThis book consists of six themes, including traditional crafts, rituals, oral traditions and traditional foods and introduces their cultural roots and identity by explaining around a hundred Kyrgyz ICH elements such as horse breeding, pasture management, rites of passage.