A piece of wood is carved into the shape of bowl with equal thickness. Some people use brass bowl for the body to produce better sound. And then, the carved body is covered with hide of deer or goat. Guitar strings are used for this violin and two tuning pegs are installed on the top of the fret. The topmost part of the fret is carved into the shape of parrot. This violin is stood on the ground or put on the shoulder to play with the bow.\n-2.7 inches in length of the violin\n-5 inches in diameter of the body\n-4.5 inches in high of the body\n-1 feet and 5 inches in length of the fret\n-8 inches in length of the carved parrot

Sayar Mg Htwe who lived Lak kauk bazaar at Mrauk-U invented the Rakhine crocodile zither according to the Rakhine Culture literature which is written by U Aung Thar OO. Marlakon fiddle is influential used to play for the royal ceremony of the ancient Rakhine king. Later it has to be used influentially to the countryside. Nowadays, there is no player who can play the Rakhine crocodile zither of the playing method. Playing method is that right forefinger strikes the string and left forefinger presses the middle fret of the arm of the zither to produce scale. The four Rakhine scales are the song of sea wave , a thunderous song, the echo and the sound of water drop which have to be played the Tha gjin:, Ei: gjin, E: gjin.\nJin Dai’ wood which is the kind of hard-wood tree ( Dalbergia cultrate ) or wood has to be sculpted the shape of crocodile. The head and the trail are decorated with rinceau; scroll-work with floral motif; floral arabesque and the body is made a hallow. Royal crocodile zither is decorated with glass mosaic and gilt. A silk-yarn, a cotton tread-yarn and a metal string (brass string) are put on the back( between the waist and shoulder ).It has to be put on three strings and an extra string. A short stump or a bridge which is called Sein Thee is put on the middle of it so that it can be controlled the middle string of the three strings. A peg is put on it so that the strings can be made tuning. \n-3 feet 9 inches in the length of crocodile \n-6 inches in the width of crocodile\n-3.5 inches in the height of crocodile head \n-8.5 inches in the height of crocodile tail\n-3 feet 6 inches in the length of harp

A piece of wood is carved into the shape of bowl with equal thickness. Some people use brass bowl for the body to produce better sound. And then, the carved body is covered with hide of deer or goat. Guitar strings are used for this violin and two tuning pegs are installed on the top of the fret. The topmost part of the fret is carved into the shape of parrot. This violin is stood on the ground or put on the shoulder to play with the bow.\n-2.7 inches in length of the violin\n-5 inches in diameter of the body\n-4.5 inches in high of the body\n-1 feet and 5 inches in length of the fret\n-8 inches in length of the carved parrot

DVD2_NEPAL'S HEREDITARY MUSICIAN CASTES\n\nThe four hereditary musician castes of Nepal are Damai, Gandharba, Kapali, and Badi. The most visible of these are the Damai and the Gandharba musicians. The Kapali are temple musicians and the Badi are drum makers. Damai are required to play for the goddess of the ruling class and also to play at all types of ceremonies and rites of passage, such as weddings and Bratabhandha. They perform in a group known as a panchai baajaa, which is composed of nine musicians playing seven different musical instruments representing the five universal elements of earth, water, fire, air, and sky, of which all matter and living things are composed. The tyamko represents earth, the damaha represents water, the jhurma represents fire, the dholaki represents air, and the narasingaa, sahane, and karnal represent the sky. Panchai baajaa music is believed to keep the elements in balance and harmony and to result in therapeutic musical healing. The Gandharba or Gaine caste musicians traditionally travel from village to village and door to door singing bhajan (hymns), songs from the great Hindu epics, and karkha (historical songs of heroes and bravery), but also bring news. They accompany themselves by playing saarangi.

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.

CD4_FOLK MELODIES OF NEPAL\n\nIt has been estimated that Nepal's repertoire of folk melodies once numbered more than sixty thousand. The country’s landscape features rivers, hills, mountains, plains, and streams, as well as an extremely rich flora and fauna, which have all inspired Nepal's folk musicians. In the past, communities were more isolated from one another due to the difficult terrain and the lack of roads and transport. Thus, every small village developed its own melodies. For example, it is said that the call of the bharedwaja bird inspired at least 128 different rhythms.

CD8_FOLK SONGS OF THE INDIGENOUS CASTES\n\nThe indigenous castes of Nepal have a variety of cultural events to mark different life happenings, from birth to death, which are all accompanied by music. These events depend on topography, and may vary even within a caste. Generally, people express their emotions through music in occasions such as Dashain , MagheSakranti , Purnima , or seasonal events, such as rice transplanting, rice harvesting, or millet plucking. In such festivals, each of the indigenous castes exhibits its way of life and culture through traditional attires, instruments, songs, and dances.

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 36 is 'Traditional Embroidery.'

On 13 September 2018, experts of the Asia-Pacific region gathered to discuss maritime topics. Organized and hosted by ICHCAP and the National Research Institute of Maritime Cultural Heritage, the symposium, in two sessions, allowed an opportunity to discuss issues related to traditional shipbuilding and navigation skills as well as traditional maritime knowledge in contemporary life.\n\nThis report is composed of seven presentation papers from seven countries, namely China, ROK, Malaysia, Philippines, Indonesia, PNG, and Madagascar, regarding on transmission of traditional ship making and navigation skills.\n