Yohor, a singing round dance of the Buryat ethnic group in Mongolia, the Buryat Republic of the Russian Federation, and the People’s Republic of China (Shineheen Buryats), is a complex synchronized expression of poetry, melody, and movement. Yohor is performed in the traditional manner with vocal singing and the modern way with playback music. Elders generally opt for the traditional way and have rich repertoire on Yohor songs. They say that the old way of singing is very important in the traditional way of dancing Yohor and that song can also affect the way of dancing.\nthe Yohor dance reflects a cultural uniqueness and a unity of Buryat people in three countries. Separated because of a long history and complicated political situations, Buryat people’s culture, tradition, and language changed. The Buryat language, an official dialect of Mongolian, has already been included in the category of severely endangered languages by the 2010 UNESCO Interactive Atlas of the World’s Languages in Danger. With this language loss, the number of elders who know the song narratives and old Yohor song repertoire are decreasing, and this brings the Yohor dance under the risk of disappearance as its complexity of song and movements but also of language. The annual and biennial cultural festivals, such as Altargana, Yohor, Night Yohor, and Global Yohor, show how Buryats have been trying to revive the traditional culture and art for long time. Even though, the collective memory and living experience of Buryat people is under the risk of disappearance due to rapid modernization and globalization with language loss.

Hawker culture in Singapore comprises hawker centers, hawkers, and hawker food. It is a living heritage shared by those who prepare hawker food and those who dine and mingle over hawker food in “community dining rooms” called hawker centers. It encompasses people from all walks of life, a wide range of affordable multicultural food, and common shared spaces. While similar food practices can be found in neighboring countries and internationally, they each have their respective historical contexts, cultural influences, and sociocultural functions.\nHawker centers in Singapore are naturally ventilated premises that are accessible and integral to the everyday lives of people in Singapore. Hawker stalls, selling food from different cultures, usually line both sides of the center, with an open communal dining space in the middle. At a typical hawker center, one can often experience sights and sounds, such as the sizzling of wok fire and rising steam from boiling pots, as hawkers whip up freshly cooked, made-to-order dishes at their hawker stalls. It is common to hear friendly exchanges between hawkers and patrons in the various languages spoken in Singapore, over a bustling atmosphere as families, colleagues and friends chat and bond over hawker meals.

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.

He started his professional career in Ministry of Education, Science and Culture of Japan in 1977. He worked from 2001 to 2009 at UNESCO where he assumed various posts such as Director of the Division of Secondary, Technical and Vocational Education, and Director of the Division of Social Science, Research and Policy at the Headquarters. Back to Japan, he organised at Nagoya in 2014“UNESCO World Conference on Education for Sustainable Development” as Advisor, Ministry of Education, Culture, Sports, Science, and Technology. \n Mr Iwamoto took function of Director- General of IRCI in April 2016. He is also Visiting Professor of Chubu University and Lecturer of National Graduate Institute for Policy Studies.

The Children are Painting the World Social Fund was opened in January 2016 in Almaty, Kazakhstan. The main activities of the Fund are to support the creativity and innovation of children and youth; support community involvement in social, cultural, and creative activities; and popularize the achievements of art, culture, intangible, and tangible heritage.

Khamir was established in 2005 as a joint initiative of Kachchh Nav Nirman Abhiyan and the Nehru Foundation for Development to strengthen and promote the rich artisanal traditions of Kachchh district. The name ‘Khamir’ means ‘intrinsic pride’ in local language and it stands for Kachchh Heritage, Art, Music, Information and Resources. The organizational aim is to provide a platform for the promotion of traditional handicrafts and allied cultural practices, the processes involved in their creation, and the preservation of culture, community and local environments. Also a common roof of a democratic and empowering space has been created, where a range of stakeholders can exchange their ideas and collaborate. The organization works on shift consumer perspectives and raises the cultural value placed on crafts to establish a vibrant, sustainable Indian craft sector in which crafts and artisans alike are highly valued by people worldwide.

Art Council of Mongolia, Culture Naadam Project

Art Council of Mongolia, Culture Naadam Project

Folk Knowledge and Tradition of Recognizing and Training Swift Horses\nSince ancient times, Mongols have developed a complex understanding of how to choose the swiftest horses from among a herd and coach and train these horses to race. Over one month, the horses’ diet is restricted, and the horses are raced over longer and longer distances each day. Race horses are classified into six age categories: ikh nas, soyolon, azarga, khyzaalan, shüdlen, and daaga, and horses in each category race for different distances. The jockeys are children between the ages of 6 and 13. The sweat-scraper and brush are patterned with symbolic designs of the horse’s prowess and promptness.

Felt making is one of the oldest traditions, bearing an artistic and aesthetic value and symbolism closely associated with folk customs and rituals. The process of collecting wool is twice a year—in autumn and in spring. A story about the historical value and ubiquitous use of rams’ skins. The process and the staged technique of felting. One way to preserve traditional felt making. It is a question of the ecological value of felt, the methods of extraction from natural materials (plants and stones), and the use of certain ornaments associated with nature and animals.

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.

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.

Tales are an important genre of the oral prose literature of the Mongolians. Tales typically begin with the phrase “Once upon a time, in such-and-such a place, in such-and-such a country.” Mongolian tales are symbolic. The most frequent ending is “and they lived happily ever after.” The legends are a popular genre of oral prose literature. The real-life legends are always complementary expressions of historical events within folk literature. Historical facts are usually adorned with fanciful magic and metaphoric devices to later become historical legends. Among the restored and digitised data, the tales take up the most recording hours. Within the framework of the project, over two hundred hours of tales and almost fourteen hours of legends were restored and digitised.

There were more than fifty epics performed by renowned epic tellers, including S. Choisuren, B. Avirmed, Sh. Buyan, M. Yadmaa, G. Khainzan, Ts. Zodov, G. Od, T. Purev, R. Lkhagva, Ch. Khartsaga, Dugersuren, Kh. Zambal, R. Duvchinsambuu, D. Bat-Ulzii, E. Namilan, B. Gombojav, B. Gurragchaa, and U. Bataa that cover over 136 hours of the restored and digitised recordings.

The genre Hò originated from the working environment. The Southern part of Vietnam, where the waters are a vital element for the workers to sing on these flowing streams. Back then, the genre of hò đường thuỷ (singing on waterways) was rather popular. From traditional performing environment, hò eventually separated into different genres- hò trên cạn (hò on land) and hò dưới nước (hò on water). Based on the carrying content, reflected themes, hò continue to evolve into various genres to adapt with different forms and narratives (hò thơ, hò văn, hò tuồng, etc.) \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\nThe blues (Hò) is a folk genre that originates from the working environment. Thanks to hò, it's helped the worker to aid their spirit, harmoneously integrate with the social interactions to bring out the best productivity outcome.\n\nThroughout history, hò has branched itself into different forms, where some branches fossiled within the past, and some have progressed into forms of expressions, for flirting, conversing,...On the aspect of social application, hò has a function that response with the need of labour. While on the sentimental aspect, hò reflects the internal needs of people.\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

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

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.

Precious Grops from Nepals Fountain of Folk Music \n(2016 MMN-ICHCAP Digitization Project of ICH-related Analogue Audiovisual Materials)\n\nMusic Museum of Nepal (MMN) is a non-governmental organization, founded in 1995 with the purpose of collecting, preserving and glorifying Nepali folk music and its related cultural heritage. There are more than 100 ethnic groups in Nepal, and each group has their own culture and traditions of marking every occasion and rite of passage from birth to death with music. MMN has recorded, documented and archived these ICH-related materials since many years ago.\n\nIn 2016, ICHCAP supported the MMN in digitizing around five hundred hours of analogue recordings through the Digitization Project of ICH-related Analogue Audiovisual Materials. Some of the materials representative of Nepali traditions were chosen and reproduced as Precious Drops from Nepal's Fountain of Folk Music, so they can be enjoyed by more people.\n\nThe Nepali collection consists of eight CDs and two DVDs. The CDs have forty-six tracks of folk music played in religious events and festivals, and the DVDs feature ten videos on folk dances and musical performances of occupational caste musicians. Each CD contains photos and descriptions of folk instruments to provide a better understanding.\n\nThis project is particularly important as it resulted in restoring analogue recordings at risk of permanent damage and digitizing them to enhance their academic value and public visibility. ICHCAP hopes that this collection will enable not just researchers in the relevant fields but also the general public to learn more about and become familiar with Nepali ICH.

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

The sub-regional online meeting for ICH Safeguarding in South Asia was organized by ICHCAP in collaboration with banglanatak dot com and UNESCO New Delhi (Cluster Office for Bangladesh, Bhutan, India, Maldives, Nepal and Sri Lanka) during 14th to 16th September 2021. The theme of the meeting was Strengthening Creative Economy through Sustainable Development of ICH. National experts from South Asian Member States, academicians, representative from World Bank, WIPO, representatives from UNESCO New Delhi Office, UNESCO Dhaka Office, UNESCO Kathmandu Office, and UNESCO Pakistan Office, UNESCO National Commission Sri Lanka, ICHCAP, banglanatak dot com, and international experts joined the meeting. \n\nThe primary purpose of the project was to better understand the interlinkage between ICH and economy in South Asia and simultaneously promote sustainable cooperation networks on regional and international levels. UNCTAD recotnized the event as part of the International Year of Creative Economy for Sustainable Development.