The Ban Narasilp (or Narasilp House) community in Wat Suntorn Thammatarn (or Wat Kae Nang Lerng) on Larn Luang Street is a descendant of the Khon-lakorn troupe called the Narasilp troupe. The Narasilp troupe has been transmitting Khon performing arts and craftsmanship for many generations. This area has been home to many classical Thai dance and drama troupes since the early Rattanakosin period of the late-eighteenth century.\nOn 14 June 2018, the Department of Cultural Promotion, Ministry of Culture, awarded the Ban Narasilp descendants and officially opened the Ban Narasilp on Larn Luang Street as a community learning center for learning to make and embroider Khon costumes to maintain continuity and the significance of Khon as a national intangible cultural heritage. In addition, the descendants have been supported with a budget for the training workshop to train a new generation of young artisans in classical Khon and Thai drama costume to safeguard this fine art for humanity.

The Sangeet Natak Akademi - India's national academy for music, dance and drama - is the first National Academy of the arts set-up by the Republic of India. It was created by a resolution of the (then) Ministry of Education, Government of India, dated 31 May 1952 notified in the Gazette of India of June 1952. The Akademi became functional the following year, with the appointment of its first Chairman, Dr P.V. Rajamannar, and the formation of its all-India council of representatives, the General Council.\nIn fulfilment of its obligations under the UNESCO convention on ICH, a statute to which India is a signatory, the Ministry of Culture, Govt. Of India, has declared the Sangeet Natak Akademi, India’s apex body on culture, as the Nodal centre for coordinating India’s nominations for various lists and other actions such as developing and maintaining the National Inventory of ICH.

Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.

Son of Tossakanth (Ravana), Intorachit is the crown prince of Lanka. He is one of the main characters in Ramakien (Thai version of Ramayana). In the Khon performance, the mask of Intorachit is in green color with his eyes wide open, his mouth close.

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

Traditionally, Kuchipudi was performed at night in Hindu temples or by the light of a fire, for people returning home after a long time. It is characterized by fast paced steps in time to the rhythm and sculptural poses. While it was traditionally performed only by Brahmin (priests), with men performing female roles as well, it is now performed mainly by female dancers.\n\nTarangam is the most popular repertoire in the Kuchipudi dance-drama tradition, which demonstrates an extremely high level of skill. The almost acrobatic movements of the dance contain philosophical metaphors for the heavy responsibilities of life. The Kuchipudi dance is rooted in the Natya Shastra, an ancient Sanskrit Hindu text, while the name Kuchipudi originates from the Kuchelapuram village in the Southern Indian state of Andhra Pradesh. Although Kuchipudi was frequently performed up to the middle ages (15th-16th century), it suffered a decline following the muslim invasion. Later in the early 17th century, it spread across the entire region of India. During the European colonial era, traditional Indian religion and culture was suppressed by Christian missionaries, and the dance suffered the indignity of being treated as a vulgar dance performed by prostitutes. It was revived in the 1920s through the effort of experts who worked to restore the traditional dances of India.\n\nCharacteristics:\n∙One of the 8 major traditional dances recognized by the Indian government\n\nPerformed by Ananda Shankar Jayant\nDirected by Sanjukta Sinha

CD3_FOLK SONGS OF NEPAL\n\nNepal is still extremely rich in folk songs, though these are less popular with younger generations. The music culture has traditionally been an oral culture passed down from guru to pupil. Many songs that have never been recorded or written down are thought to have been lost. Fortunately, several enthusiastic folklorists, musicians, singers, and researchers have made collections of folk song lyrics to promulgate them, focusing especially on the rarer and most endangered folk songs. We present here a few examples.

Katta Ashula (a song performed with a plate) is specific to the Ferghana Valley of Uzbekistan. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, Katta Ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style. Katta Ashula developed from basic traditional events in history, from labour songs, and from different styles of ghazal verses. Usually, Katta Ashula is performed in big gatherings, festivities, and party celebrations.\n\nKatta Ashula songs were performed professionally and further developed by famous Khofizes such as Erkaqori Karimov, Turdiali Ergashev, Matbuva Sattorov, Jo'rakhon Sultonov, Mamurjon Uzoqov, Boltaboy Rajabov, Orif Alimakhsumov, Fattohkhon Mamadaliev, Jo' rakhon Yusupov, and Khamroqulqory To'raqulov. Today, Katta Ashula is masterfully performed by experienced singers with the highest skill, such as Khalima Nosirova, Munojot Yo'lchieva, Ismoil and Isroil Vakhobovs, and Mahmud Tojiboev.

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.

When we were young, we were told a lot of stories. Everyone hated the big, vicious, evil, and cunning animals. However, seen through grown-up eyes, there are no bad animals in the world. Animals personified in stories convey a message to the human world-that of peace and harmony. At a time when a message of peace is desperately needed, let’s enjoy some stories featuring various animals, from tigers to birds, rabbits, monkeys, and more.