Eunsan Byeolsinje is Korea's traditional shamanism ceremony which is selected as the ninth Important Intangible Cultural Property of Korea next to Ganggang sullae. It is performed mainly in eunsanri eunsanmyeon Chungcheongnam-do Buyeo Korea by a shaman. In eunsanmyeon Chungcheongnam-do Buyeo, shaman have a ritual for a mountain spirit every beginning of the year and have a special a ritual for ghosts every other year. There is a mountain in the north of the Eunsan Market about 70–80 meters high and there are a shrine at the south of the mountain. It was started to console the ghosts of the town for the health of local residents. According to the writing of the shrine, Eunsan Province was a battle field in Baekje and the ghosts of soldiers were remained to make an infectious disease and natural disaster. So people in town made the shrine to stop disaster. Eunsan Byeolsinje is held every other year. The annual ceremony which is held at Byeolshindang, the shrine, is called Sanje and the other biennial ceremony, Byeolsinje, is much bigger than the Sanje.

The traditional musical instruments of Myanmar were prominent throughout the nation’s history. The instruments were developed as early as the Pyu Era, Bagan Era and many were dominant features of music during the Innwa Era and Konbaung Era.\n\nWhile some of these instruments have been preserved and are used today, others have been lost to history.\nIn an attempt to preserve the traditional musical instruments of Myanmar, the Ministry of Culture displayed traditional instruments and distributed the books about the instruments during an exhibition in 1955. This research shows thirty-three kinds of instruments. Moreover, in a 2003 celebration of traditional instruments, the Ministry of Culture exhibited over two hundred traditional instruments at the national museum.\nWhile the instruments on display were representative of many regions and states, many instruments were not included.\nBecause of this lack of full representativeness, additional research through field studies is required. This project proposal addresses this need.\n\nTo create a preliminary basis towards developing a national ICH inventory of craftsmanship and performing arts of traditional musical instruments in Myanmar. To safeguard ICH related to the craftsmanship and performing arts of traditional musical instruments and to promote cultural diversity among multi- ethnic groups in Myanmar. To raise awareness of the Myanmar public on the importance of ICH. To expand networking and information sharing between Myanmar and Korea.

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.

CD7_MUSIC OF BASTAR AND CHHATISGARH\n\nThe indigenous tribal communities of India belong to various language families. This selection of music comes from the region of what was known as Bastar and its surroundings but is today divided into the states of Madhya Pradesh and Chhattisgarh. \n\nThis album presents some samples of the music of the Maria, Muria, and Pardhans. These subgroups are part of the larger Gond family. Gondi and the related languages belong to the Dravidian family. It provides a glimpse into the intangible cultural heritage of the tribes of Central India. \n\nThese recordings were made between 1978 and 1982 by ethnomusicologist Roderic Knight. They provide a glimpse into the tribal communities, which are fast changing.

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.

Together with the UNESCO National Commissions in the Central Asia, the Seventh Central Asi Sub-regional Meeting on the Safeguarding of Intangible Cultural Heritage was held between 16 and 18 May at Dushanbe, Tajikistan.\n\nThe report includes papers of the thematic symposium on Sacred Cultural Spaces, Safeguarding ICH and Enhancing Identity and country reports.

Based on the ICHCAP Field Survey on Intangible Cultural Heritage Safeguarding Efforts in some East and Central Asian countries from 2009 to 2012, this summary provides a brief overview on the ICH situation in Uzbekistan, Tajikistan, Kyrgyzstan, and Kazakhstan . The summary focuses mainly on ICH safeguarding systems, safeguarding policies, and ICH inventories as well as on pending issues and the urgent safeguarding needs of these countries. Moreover, information on the main entities in charge of ICH safeguarding and opinions of each country on the issue of community involvement are provided. To give a quick overview these countries’ participation in ICH safeguarding at the international level, some additional information related to UNESCO is specified as well. This survey report offers a large sample of the diverse ICH situations in East Asian and Central Asian countries. Although each country has a different background on issue of intangible heritage, depending on its cultural, economic, and socio-political situation, the countries participating in the survey share a commonality: They are post-communist countries that were once under the Soviet system. Moreover, they share a traditional culture shaped by nomadic pastoralism that offers a variety of cultural similarities. For instance, they keep an ancient and rich tradition of epic singing, and they are highly concerned about this oral heritage as it is on the brink of disappearance. In this sense, they have much to exchange and share in regards to safeguarding ICH. The countries participating in the survey are concerned with the threats against their ICH, but most of these nations are in the early process of defining ICH and establishing independent national ICH lists. At the same time, each country expresses a high degree of motivation and encouragement for safeguarding ICH, sharing experiences, and participating in international cooperation programmes. Apart from the main subject, a brief glimpse is taken on the situation of intellectual property in ICH safeguarding in each country. Compared to the Southwest Asian countries that participated in the field survey, the East Asian and Central Asian countries provided little information on intellectual property issues, so it is recommended that ICHCAP undertake the Field Survey on Intellectual Property Issues in the Process of ICH Information Building and Information Sharing in some countries to see their status on this subject.\n\n- Ratified the ICH Convention in 2010; survey conducted in 2010 and updated in 2014.\n- As of March 2018, has 3 ICH elements on the RL and no accredited NGOs.