The Koryo Saram living in Uzbekistan are descendants of Koreans who resettled from Primorsky Krai and Khabarovsk Krai in Russia to Central Asia around 1937. However, unlike the majority of Korean diaspora communities that were formed through voluntary migration, the Koryo Saram of Central Asia were forcibly resettled as a consequence of political decisions. And as a result the Koryo Saram who settled in Central Asia faced huge challenges adapting to their new geographical and sociocultural environment, and as ethnic minorities these challenges were intensified. The establishment and growth of the Korean diaspora community of Uzbekistan took place within this context. nOf the post-Soviet activities to safeguard and transmit intangible cultural heritage, the efforts of the Koryo Saram dance troupes deserve special mention, especially with the somewhat recently established Samjiyeon Dance Troupe, Asadal Dance Troupe, and Koryo Dance Troupe under the Central Koryo Saram Culture Association of Uzbekistan (Koryo Association). Established in 1998, Koryo Dance Troupe is the oldest of the three while the Samjiyeon Dance Troupe and Asadal Dance Troupe were established in 2014 and 2015, respectively. With the exception of Koryo Dance Troupe, young people (in their twenties and thirties) head up these troupes and the dancers are in their teens and twenties. Key activities of all the troupes include both dance education and performance.\nThese Koryo Saram dance troupes perform at various events, including the traditional Koryo Saram festivals of Chuseok (a harvest holiday) and Seolnal (Lunar New Year), and thus play a central role in the continued transmission of intangible cultural heritage. The dance troupes also perform at events alongside various other ethnic groups, promoting the Koryo Saram community’s place within Uzbek society as an ethnic group with a unique and honorable heritage, living harmoniously with its neighbors.y of Uzbekistan took place within this context.

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Mr Sayidafzal Mallakhanov obtained a Bachelor’s Degree (2000) and a Master’s Degree (2002) from the Tashkent State Institute of Oriental Studies. Since 2002 he is working at the National Commission of the Republic of Uzbekistan for UNESCO (Senior Expert/Deputy Secretary-General).\n\nHe was the coordinator for preparation following multinational and national nominations to the Representative List of ICH and Good Practices for ICH Safeguarding: “Katta Ashula”, Askiya”, “Navruz”, “Palov Culture and Tradition”, “Margilan Crafts Development Center: Safeguarding of the Atlas and Adras Making Traditional Technologies”, “Khorazm Dance – Lazgi”, “Miniature Art”, “Bakhshi Arts”, “Telling tradition of Nasreddin Hodja”, “Art of crafting and playing Robāb/Rubāb/Rubob”, “Traditional embroidery of Central Asia”, “Traditional folk games of Uzbekistan and Tajikistan”, “Sericulture and Traditional Production of Silk for Weaving”. Moreover, Mr Sayidafzal Mallakhanov was also coordinator of the Uzbekistan -ICHCAP Cooperative Project: Publishing an ICH Inventory Booklet (2015-2017) and the ICHCAP Project on Conducting ICH Video Documentation in Uzbekistan (2015-2018).\n

The public foundation "CACSARC-kg" was created on the basis of the Central Asian Association for the Support of Crafts (CACSA) - one of the leading non-governmental organizations in the region with an open membership, working in the field of development of the handicraft sector, whose head office was in Bishkek from 2000 to 2008.\nAt its creation, CACSA consisted of several enthusiasts of the region's craft movement, and by 2009, over eight years, CACSA had created a regional network of 76 organizations (from Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan, Uzbekistan and Mongolia) and implemented more than 50 projects in the field the development and support of crafts, where more than 5,000 artisans across the region have directly and indirectly benefited. During these eight years, CACSA has gained significant experience in the development of the artisan sector of the region, providing artisans with training, marketing and international promotion services.\nAt the end of 2008, the head office of CACSA, according to its Charter, moved to Almaty (Kazakhstan), and in March 2009 “CACSARC-kg” was registered as an independent public fund to continue activities in Kyrgyzstan for the development of crafts and traditional culture.

The ICH NGO Forum is the platform for communication, networking, exchange and cooperation for NGOs accredited by UNESCO to provide advisory services to the Intergovernmental Committee in the framework of the 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage.

Navruz is an ancient and widespread holiday in Tajikistan, and it is celebrated on the vernal equinox, the beginning of the solar year and the new year according to the Iranian calendar, as well as calendars of several other nationalities. Navruz traditionally celebrates the awakening of nature and the beginning of agricultural work.

The Nooruz holiday symbolizes the celebration of the New Year according to the solar calendar, on the vernal equinox (March 21). It marks the arrival of something new in people's lives, their hope for a happy and prosperous year. This is one of the most important holidays in Kyrgyzstan, bringing together everyone, regardless of age and ethnicity.

Representative List of the Intangible Cultural Heritage of Humanity, 2016 Navruz is celebrated in Iranian cultures such as Tajikistan. As it is a happy festive day to welcome the spring after the long winter, the children enjoy various games. This video shows the children at play. Girls wear traditional Tajik costumes, and boys wear formal clothes while playing games like pebꠓble tossing and catching, kite flying, stick tossing, skipping rope, hacky sack, arm wrestling, swinging, breaking eggs. They also sing, allowing viewers to also feel cheerfulness of a festive day and become quite comfortable.\nLabchang, a musical instrument known from ancient times, received its name because it is placed between the lips and is played by a finger. Some old people in a few areas of Tajikistan continue to play labchang, so the art of playing has almost disappeared. The young generation generally doesn’t even now about the instrument. This film is dedicated to the methods of play on various types of labchangs in different parts of Tajikistan.\nVarious dance forms are performed in relation to nature throughout Tajikistan. The dances are varied, mainly having an imitating character. Performed by folk artists, the dances are transferred from generation to generation. Some of the rare dances are gone with their performers. The Pamiri people perform a rare mourning dance that is currently performed only in Bartang Valley and is on the verge of disappearances. Other dance forms are being revived day by day.

유네스코아태무형유산센터 창립 10주년 기념 홍보영상(2021)

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.

Webinar: “Life, Environment, and ICH along the Silk Roads”\n\n<Day 1>\n\n1. 'The Need to Shift from Global to Local' by Helena Norberg-Hodge\n2. 'On Cooperative Mechanism for the Silk Roads ICH toward Sustainable Development' by Seong-Yong Park\n3. 'Vitality and Sustainability of the Silk Roads ICH Festivals' by Alisher Ikramov\n4. 'The Water-Performance Installation Project—Art Practice for the Coexistence of Humanity and Nature in the Silk Roads Region' by Dong-jo Yoo\n\nㅇ Panel Discussion\n\nSession1 : Online Strategic Meeting on Silk Roads ICH Networking\n: Case Studies on the Vitalization of the Silk Roads ICH: ICH Festivals & Sustainable Development\n\n1. 'Case of Tajikistan : Role of Festivals for ICH Safeguarding Within Local Communities' by Dilshod Rahimi\n2. 'Case of Kyrgyzstan: Influences and Effects of ICH Festivals on Local Communities' by Sabira Soltongeldieva\n3. 'Case of Kazakhstan: ICH Festivals’ Influence and Effects on Local Communities' by Khanzada Yessenova\n4. 'Andong International Mask Dance Festival: Realization of Folkloric Values and Transmission of ICH' by Ju Ho Kim\n5. 'Case of Turukmenistan : Future of ICH Safeguarding' by Shohrat Jumayev\n\n<Day 2>\n\nSession2: Cooperation and Solidarity for Operating the ICH Network along the Silk Roads\n\n1. 'On the Feasibility of the Silk Roads ICH Network' by Sangcheol Kim\n2. 'Operational Issues of the Network' by Alim Feyzulayev\n3. 'Cultural Context of a CIOFF Festival' by Philippe Beaussant\n4. 'ICH Festivals in Specific Goal and Task' by Kaloyan Nikolov\n5. 'Identifying Ways to Develop Intangible Heritage Festivals through Community Networks (Focusing on the Case of the Gijisi Tug-of-War Festival)' by Daeyoung Ko\n\nㅇ Panel Discussion\n\nSession3: Collaborative Work and Benefits through Activities of the Silk Roads ICH Network\n\n1. 'Scope and Definition of Collaborative Work through Activities of the Silk Roads ICH Network' by Kwon Huh\n2. 'Cooperative Measures for Festivals in the Silk Road Region' by Jahangir Selimkhanov\n3. 'ichLinks: Information-Sharing Platform as a Key Base for Safeguarding and Use of Intangible Cultural Heritage in the Asia-Pacific' by Sangmook Park\n4. 'Case Study: Silk Roads Heritage Corridor - Afghanistan, Central Asia, and Iran' by Krista Pikkat\n5. 'UNESCO Silk Road Online Platform' by Mehrdad Shabahang\n\nㅇ Panel Discussion

CD8_PERCUSSION AND PERFORMANCE – DRUMMING TRADITIONS\n\nPercussion and drumming traditions are found all over India. A wide variety of drums and other percussive instruments are played in a variety of contexts, and frequently have ritual implications. This album presents two very different traditions: the tayampaka temple drumming of Kerala, and the dhol-damau of Uttarakhand, a combination that is used in various contexts in this mountain region. Both percussion traditions are forms of ritual drumming. Tayampaka is a genre of temple musical instrument art performed throughout North and Central Kerala. It can be performed on a variety of instruments but is most well known as a centa (tow headed cylindrical stick drum) composition usually played by marars, a temple drummer singer caste. It is one of the forms of the chenda melam or chenda ensemble. Though tayampaka is mainly performed as part of temple rituals it is also played in other contexts. As a temple ritual, the drumming is considered an offering to the gods or goddesses. In all the tracks presented here, a vocal performance is featured with the drumming. The tayampaka tracks were recorded by Rolf Groesbeck and are part of his collection. The dhol-damau of Garhwal in Uttarakhand is a twodrum ensemble. Though the double-barrel drum may be played by itself, the damau is never played on its own. The dhol is played while standing. \n\nThe drummer uses the left hand to strike the left head of the drum while a stick is used in the right hand. A variety of strokes are used on both drum heads. The dhol is known for its power and sanctity in all parts of India, including the Garhwal region. The damau is a shallow kettle drum that is heard almost exclusively in partnership with the dhol at outdoor rituals and entertainment events. The damau is played with two thick sticks slightly curved at the playing end. The dhol is considered female and the damau male. The term baje is used for the various drumming patterns. The dhol-damau performances presented in this album are related to the Pandav Lila ritual theatre and dancing of Garhwal in Uttarakhand. Actors take the role of the Pandavas from the Mahabharata epic which is acted out in the open. As they act, the performers get possessed by the spirit of the characters they are playing and begin to dance. Drumming is known to bring in a state of possession. There are specific baje (rhythmic patterns) for the various characters of the Pandav Lila. The tracks presented in this album are demonstrations, where the various baje are elicited and not part of an ongoing Pandav Lila performance where these patterns would not be audible. The tracks presented here were recorded by Andrew Alter as part of his research on the Pandav Lila. The audio was extracted from video recordings that were digitized for this project.

CD1_BHAJANS OF NEPALI FOLK CULTURE\n\nA bhajan is a spiritual chant in traditional Nepalese culture that is performed mainly in temples. The lyrics typically recount the good deeds of various gods and goddesses. It is believed that the performance of a bhajan brings about peace and prosperity and an improved quality of life for all living beings. Bhajans of Nepali Folk Culture This CD includes examples from four distinct categories of bhajan, namely Devi Bhajan, Dafa Bhajan, Khainjadi Bhajan, and Usha Charitra Bhajan.

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.

Title:\n(English) Silk Roads ICH Survey Report – Festivals\n(Korean) 실크로드 무형유산 설문조사 보고서 – 축제\n(Russian) Доклад по исследованию нематериального культурного наследия Шелкового пути – фестивали\n\nLanguage: English/Korean, Russian/English\nType: Survey Report\n\nThis survey report was conducted as part of the effort to identify the status of ICH festivals across the Silk Road region and further identify the challenges that should be resolved with regard to each festive event. This report presents the findings of the survey concerning ICH festivals, which was carried out in 2020 on the governments and cultural institutions across Silk Road countries, including the Republic of Korea. The valid sample, consisting of 347 respondents from nine countries, were statistically analyzed and described herein

제목\n(English) Silk Roads ICH Survey Report – Festivals\n(Korean) 실크로드 무형유산 설문조사 보고서 – 축제\n(Russian) Доклад по исследованию нематериального культурного наследия Шелкового пути – фестивали\n\n언어: 한국어, 영어, 러시아어\n\n이 보고서는 실크로드 지역의 무형유산 축제에 관한 현황을 살펴보고 정보공유 및 가시성을 높이기 위한 시도로서, 한국을 포함한 실크로드 관련 국가들의 정부와 문화기관을 대상으로 시행하였으며, 2021년 총 9개국에서 접수한 347개의 유효응답을 통계 분석하여 수록하였다.