Mr Mazuki Bin Tambi has been appointed as President of (MACPA) Since 2010 -2021 at the national level , In 2018 he become a Heritage and arts expert for the Department of National heritage Malaysia.\nCurrently he is a Board members of the Ministry of Tourism Arts and Culture Sarawak Malaysia. \nMazuki has been very much involved in artistic development in art and culture in Malaysia, especially on performing art,research,strategic planning for government of Sarawak.\nOn the international scene, he has been involved with (ichchap) Republic of Korea 2017-2021 on South east Asia video production (2017- 2018),Book Publication (2019-2021) . Produce Hang Tuah documentary for Asia Culture Centre Republic of Korea. ‘Memory of the World” catogery. \nHe representing Malaysia,for permenant membres \norganization with Qatar (2020) GPDNET network.

Chairperson of Maldives Authentic Crafts Cooperate Society (MACCS) and an advisory board member of Homenet South Asia, Aminath has been dedicating her work to the revival of traditional handicraft in the Maldives and empowering homebased workers, especially women. With Aminath’s leadership, MACCS has facilitated the market for buying and selling some traditional handicrafts while creating and establishing a network of homebased workers and crafters across the country. The women led corporative, MACCS has also completed projects on restoration and regeneration for natural vegetation, strengthening the livelihood initiative of homebased workers in the SAARC region, strengthening of market links for sustainable hau cultivation in Fiyori, livelihood support program for wetland management-climate change adaptation and piloting alternatives to single use plastic bags in Male’ amongst others. Aminath, has documented various traditional crafts emphasizing the need for supporting sustainable livelihood activities

Banglanatak dot com is a social enterprise working across India for inclusive and sustainablendevelopment using culture-based approaches. Art for Life initiative of the organization revivesnintangible cultural heritage and develops grassroot cultural industries. The organization isnaccredited by the UNESCO 2003 Intangible Cultural Heritage Committee and has SpecialnConsultative Status to UN ECOSOC. Banglanatak is working in South Asia to develop a network ofnNGOs working for safeguarding ICH and contributing to sustainable development in collaborationnwith ICHCAP and UNESCO.

'Sepak Raga' is a traditional game played in the Malay states and neighbouring coutries. 'Sepak' is Malay for "kick" and 'Raga' is the ‘rattan ball’ used in the game. Traditionally, sepak raga was played by forming circle to kick, shoulder or head a rattan ball to the opposing players much like the current Volleyball drills.\nThe Objective was for the players to keep the ball in the air for as long as possible. The game can played as a team, group, or even solo.\nLater in 1945, the net was introduced and the game it is played today came into being. The first official competition with the net and new rules was held at a Swim Club of Penang on May 16, 1945. It was the called Sepak Raga Jaring or Snwith reference to the addition of the net. Sepak raga jarring spread quickly throughout the rest of the Malay Peninsula and South East Asia. In 1965, The South East Asia Peninsular Games Committee eventually agreed that the sport would be known as "Sepak Takraw". Takraw is the ‘woven ball’ in Thai.\nFor Sepak Takraw, two opposing teams of three players each play the game, each team is permitted to hit the ball three times before it must cross the net, rather like in Volleyball. The difference is that it can be hit three times by some player.\nKicking is the most crucial factor in deciding the outcome of the game, a fluid overhead acrobatic kick to smash the ball.

'Sepak Raga' is a traditional game played in the Malay states and neighbouring coutries. 'Sepak' is Malay for "kick" and 'Raga' is the ‘rattan ball’ used in the game. Traditionally, sepak raga was played by forming circle to kick, shoulder or head a rattan ball to the opposing players much like the current Volleyball drills.\nThe Objective was for the players to keep the ball in the air for as long as possible. The game can played as a team, group, or even solo.\nLater in 1945, the net was introduced and the game it is played today came into being. The first official competition with the net and new rules was held at a Swim Club of Penang on May 16, 1945. It was the called Sepak Raga Jaring or Snwith reference to the addition of the net. Sepak raga jarring spread quickly throughout the rest of the Malay Peninsula and South East Asia. In 1965, The South East Asia Peninsular Games Committee eventually agreed that the sport would be known as "Sepak Takraw". Takraw is the ‘woven ball’ in Thai.\nFor Sepak Takraw, two opposing teams of three players each play the game, each team is permitted to hit the ball three times before it must cross the net, rather like in Volleyball. The difference is that it can be hit three times by some player.\nKicking is the most crucial factor in deciding the outcome of the game, a fluid overhead acrobatic kick to smash the ball.

It is the New Year by solar calendar in Central, South and South-West Asia countries. According to sources, Navruz was one of the biggest festivities among Iranian and Turkic peoples. Mahmud al-Kashgari in his work called "Diwanu l-Lugat al-Turk" mentions about many folk songs, which were dedicated to Navruz. Also, the information about Navruz festivity can be found in such works as "The remaining traces of past centuries" (written by Abu Rayhan al-Biruni), "Navruzname" (by Omar Khayyam), and those written by Alisher Navoi, Zahir-ud-Din Muhammad Babur and other scholars. \nIn the territory of Central Asia Navruz festivity was associated with the beginning of the New Year. As such, the preparations for it began several days ahead. Wheat was germinated and from its sprouts sumalak was cooked, dumplings with greens and samosas with mint were prepared. Also folk games were organized (such as horseracing, uloq, kurash, etc.), promenades were arranged, songs about spring were sung, terma and dostons were performed (by bakhshis). On the first day of Navruz children, living in rural areas, gathered in groups and sang songs dedicated to Navruz before the doors of houses. And the owner of the house, hearing these songs, came out, gave presents to children, and treated them with food. In their turn, children distributed one part of the food among widows and orphans living in the village. All these traditions and customs are still alive.

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.

Serenicumu literally means “bumping songs,” a genre of popular music that is widespread throughout Fiji today and is performed in villages as well as at local resorts and hotels. These songs are covers of or are influenced by styles from Europe and America as well as from other Pacific islands or the Caribbean (particularly reggae). They are often performed at informal yaqona drinking sessions and are also associated with informal dance types broadly termed tauratale or danisi (taken from the English word ”dance”).\n\nThe exact origin of the genre is obscure. Serenicumu is said to be associated with the first legally allowed sales of beer to Indigenous Fijians in the 1920s in Suva, and it is suggested that this genre originated from parties where men bumped their drinking glasses together. Another source further adds that this music was originally called sere ni cumu saqa (saqa meaning “barrel” or “tankard”) and that it referred to the practice of Fijian men sitting in a circle at a table and resting their heads against their tankards of beer. Many serenicumu songs still performed today date from World War II―an intense period of creativity for this genre―when soldiers from the US, Aotearoa (New Zealand), and Australia interacted extensively with Fijians.\n\nCurrently, musicians distinguish two main styles of serenicumu: trio and sere bass (also called sere makawa or “old songs,” even though they may be fifteen or more years old). Sere bass performance features a large group of bass vocalists (bass/besi) in addition to three solo voice parts: tatabani/tatabana, domo tolu/vakababa, and laga/lagalaga in descending order in terms of their vocal range. Only the three solo parts are heard in trio. The types and roles of the instruments, their tuning, and their playing techniques have also changed over time. The technique of vadivadi (plucking), which characterized sere bass guitar performance in the past, has been replaced by various “scrumming” (strumming) for the rhythm guitar and a range of left- and right-handed techniques for the lead guitarist. The only chords used in sere bass were dua(tonic), rua (subdominant), and tolu (dominant), whereas trio also featured warning (seventh), minus (minor), and flat (supertonic) chords.\n\nAnyone can participate in sere bass performance, which makes it ideal for use at large social gatherings. Trio performers are expected to perform to a high standard and are usually heard at small social functions such as yaqona drinking sessions.\nThe tempo tends to be slower and the overall pitch lower in sere bass when compared to trio. Sere bass, being closer stylistically to meke, tends to be preferred by older people (those in their mid-40s and above) and provides them with a means to connect with and celebrate their cultural roots. Trio, which tends to be popular with those in their 20s and 30s, exhibits a greater degree of Westernization than sere bass, but it is still regarded as being part of the serenicumu oral tradition that has been passed down through the generations and that continues to change as new songs are continually added to the repertoire and old ones fall into disuse.

CD4_NARRATIVE TRADITIONS – ORAL EPICS AND BALLADS VOL. I: THE TULU PADDANA\n\nOral epics, ballads, and narratives form a major part of the background of rituals, storytelling, and local mythologies – all an important part of the intangible cultural heritage of India. The vast range of oral epics in India, most often sung, also contain recitation and prose that explain the text. The meters vary greatly, and they all have different definitions and terms. For instance, the meter and singing of the Alha is called Alha Chhand. A wide variety of types of performances and expression of this genre exist. Some stories are narrated with scrolls that illustrate episodes. Sometimes, they are acted out, and sometimes sung, as in the case of the paddanas, which are performed while transplanting rice. Stuart Blackburn and Joyce Flueckiger distinguish three kinds of oral epics in India: martial, sacrificial, and romantic. Some epics tell a story with multiple episodes and characters, and some are “multi-story” oral epics. Oral epics in India are very closely tied to communities, with performers, audience, and participants all belonging to the same community. Most oral epics are associated to rituals, the performance of some being the ritual itself. Caste also plays an important role in the performance or patronage of the oral epic traditions in India. \n\nThe great epics of Ramayana and Mahabharata in some cases, enter the world of these local oral epics, where the performers are considered to be reincarnations of heroes and gods from these epics. According to Komal Kothari, an eminent folklorist of India, this phenomenon happens when the impact of the oral epic spreads beyond its initial local boundaries. Though we are not able to present full performances of all the oral epics, we believe that these recordings provide a good glimpse into the variety of meters, singing styles, and contexts that exist within these traditions. Three oral epics are presented in this volume. They are all part of larger collections, and each one is contributed by an expert on the genre who has done extensive research. The paddanas were contributed by Peter Claus, the Nanda Devi jagar by William Sax, and Alha by Karine Schomer.

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.

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 10 is 'ICH AND NEW YEAR FESTIVALS.'

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 30 is 'Royal Court Dances.'