Taman Mini "Indonesia Indah" (TMII) ("Beautiful Indonesia" Miniature Park) is a culture-based recreational area located in East Jakarta, Indonesia. It is operated by Yayasan Harapan Kita, a foundation established by Siti Hartinah, the first lady during most of the New Order and wife of Suharto, and still run by Suharto's descendants since his death. It has an area of about 100 hectares (250 acres). The park is a synopsis of Indonesian culture, with virtually all aspects of daily life in Indonesia's 26 (in 1975) provinces encapsulated in separate pavilions with the collections of rumah adat as the example of Indonesian vernacular architecture, clothing, dances and traditions are all depicted impeccably. Apart from that, there is a lake with a miniature of the archipelago in the middle of it, cable cars, museums, Keong Emas Imax cinema, a theater called the Theatre of My Homeland (Theater Tanah Airku) and other recreational facilities which make TMII one of the most popular tourist destinations in the city.

Yarney is one of the mainstays of monastic life in most of the Buddhist countries from the time of Buddha until today. It is observed as one of the most important annual events in Buddhist monasteries and institutions. ‘Yar’ means ‘summer’ and ‘ney’ means ‘to stay or abide in’. The Sanskrit term for Yarney is Varsavasa (varsa means ‘rains or rainy season’ and vasa means ‘dwelling or residence’) meaning ‘residence for rainy season or residence during rains’. The term widely used in Bhutan is Yarney which literally means Summer Retreat. \n\nThe origin of Yarney can be traced back to Lord Buddha some 2600 years ago in India. The first Buddhist monks did not build monasteries and temples; they were mostly homeless and solely depended their sustenance on alms round. However, during summer, it was not practical for Lord Buddha and his Sangha to make daily customary alms round from village to village and teaching tours due to heavy monsoon rains.\n\nSummer was also the peak time when insects and worms would reproduce and inhabit the muddy walkways and small plants and newly planted rice paddies would start budding in the fields. It was also common trend at that time for Non-Buddhist (Tirthikas) to criticize and accuse the Buddha’s practice of alms round, reasoning that especially during the summer walking around for alms round killed several animals and insects.\n\nSo in order to protect insects and worms being injured or killed while walking as well as crops in the fields from being crushed; or avoid injuring themselves due to the monsoon rains, flooding and displaced wildlife and also to avoid being criticized and accused by non-Buddhists for killing tiny beings, the Buddha established a rule that members of Sangha would not travel during the monsoon rains. Instead, they would remain within the premises of their residences or dwelling places (monasteries) each summer as summer or rainy season retreat. The place where "Yarney" was observed must be conducive to spiritual and mental development of the monk as one of the main object of observing "Yarney" was to practice meditation besides preaching the Dharma more often to lay devotees. The period for the retreat was determined as three months by lunar calendar and, would usually start in June or July and would continue until sometimes in September or October. Since then, there came into practice formally the precept of observing Yarney – the retreat during summer or the rainy season by Buddhists. \n\nThe Buddha and Sangha would stay and spend days in their residences. This was a period for Sangha to spend time in quiet and serious meditation, give Dharma talks and help laypeople and junior Sangha members in spiritual development. It was also opportune time for them to clarify their understanding of every aspect of the Buddha’s teachings (through questions and answers), based on which in the later period of time that the sutras were said to have been written down.

Yarney is one of the mainstays of monastic life in most of the Buddhist countries from the time of Buddha until today. It is observed as one of the most important annual events in Buddhist monasteries and institutions. ‘Yar’ means ‘summer’ and ‘ney’ means ‘to stay or abide in’. The Sanskrit term for Yarney is Varsavasa (varsa means ‘rains or rainy season’ and vasa means ‘dwelling or residence’) meaning ‘residence for rainy season or residence during rains’. The term widely used in Bhutan is Yarney which literally means Summer Retreat. \n\nThe origin of Yarney can be traced back to Lord Buddha some 2600 years ago in India. The first Buddhist monks did not build monasteries and temples; they were mostly homeless and solely depended their sustenance on alms round. However, during summer, it was not practical for Lord Buddha and his Sangha to make daily customary alms round from village to village and teaching tours due to heavy monsoon rains.\n\nSummer was also the peak time when insects and worms would reproduce and inhabit the muddy walkways and small plants and newly planted rice paddies would start budding in the fields. It was also common trend at that time for Non-Buddhist (Tirthikas) to criticize and accuse the Buddha’s practice of alms round, reasoning that especially during the summer walking around for alms round killed several animals and insects.\n\nSo in order to protect insects and worms being injured or killed while walking as well as crops in the fields from being crushed; or avoid injuring themselves due to the monsoon rains, flooding and displaced wildlife and also to avoid being criticized and accused by non-Buddhists for killing tiny beings, the Buddha established a rule that members of Sangha would not travel during the monsoon rains. Instead, they would remain within the premises of their residences or dwelling places (monasteries) each summer as summer or rainy season retreat. The place where "Yarney" was observed must be conducive to spiritual and mental development of the monk as one of the main object of observing "Yarney" was to practice meditation besides preaching the Dharma more often to lay devotees. The period for the retreat was determined as three months by lunar calendar and, would usually start in June or July and would continue until sometimes in September or October. Since then, there came into practice formally the precept of observing Yarney – the retreat during summer or the rainy season by Buddhists. \n\nThe Buddha and Sangha would stay and spend days in their residences. This was a period for Sangha to spend time in quiet and serious meditation, give Dharma talks and help laypeople and junior Sangha members in spiritual development. It was also opportune time for them to clarify their understanding of every aspect of the Buddha’s teachings (through questions and answers), based on which in the later period of time that the sutras were said to have been written down.\n

▶ Play Video 7. The T’boli A People Who Live with Art\nThis episode was first aired on Filipino television on September 19, 1996. This episode has been modified from its original format.\n\nThe T’boli (Tagabili, Tiboli), together with the B’laan to the east and Teduray to the north, are in a single language group distinct from the remaining language groups of Mindanao. The T’boli traditionally live in scattered ettlements in the highlands of southwestern Mindanao, in the province of South Cotabato. The cultural communities surround the complex of highland lakes—Lake Sebu, Lake Selutan, and Lake Lahit. Settlements are composed of family clusters of fifteen or more households. Clusters are at elevations averaging 3,000 feet above sea level. Recently, these settlements have grown to comprise thirty or more households. Each settlement has a ceremonial house called a gono bong (big house). Members of such communities are usually related by kinship.\n\nThe T’boli practice swidden farming, cultivating highland rice (teneba), the staple food, potato, sugar cane, taro, and sweet potato. Corn and coffee are considered cash crops. Owning a horse is an indicator of economic status. Forests function as the main source of food, and the main source of protein is lake fish.\n\nThe T’boli are noted for their backstrap loom textile, t’nalak, which is woven from tie-dyed abaca fiber. Personal ornaments made of multicolored beads and embroidered blouses and hats are other notable features of the T’boli. Small household metal industries use the lost-wax process to manufacture cast brass bolo handles, figurines and betel-nut containers, and other ornaments.\n\nWhile the kinship system is bilateral, there is a strong male dominance. The father leads the household, and the oldest male leads joint and extended families. The oldest male child takes over this dominance upon the death of the father. If there is no son, lomolo is practiced, whereby the father’s eldest brother assumes the wealth of the deceased and claims the latter’s wife as his own.\n\nThe communities are also linked through a recognized leader, the datu, who does not officially command but whose word is respected because of his status, economic means, reputed courage, skill in settling disputes, and wisdom in the interpretation of custom laws. The position is achieved through community validation. He traditionally acquires rights over a person for whom he has paid an unsettled debt.\n\nA major social ritual of the T’boli is the mo-ninum, which is usually celebrated for a marriage and includes a multilateral exchange of articles of wealth (kimu). After six ceremonial feasts, for which the families take turns being hosts (moken) and guests (mulu), the ceremony climaxes with the marriage itself. The whole cycle may take many years to complete and sometimes results in the construction of a gono mo-ninum, a huge house that can accommodate more than two hundred people.\n\nMaguindanaoMandayaKalingaSubanonTagalogManobo

▶ Play Video 4. A Sound for the Spirits The Buklog of the Subanons\nThis is a shortened version of the Travel Time episode “A Subanon Celebration,” which was first aired on Filipino television on March 21, 1996. This episode has been modified from its original format.\n\nAnimals were offered in the context of the Subanon cultural ritual.\n\nThe Subanon or Subanun people of the upstream may be found on the western Peninsula. The population core areas are in Katipunan. The known subgroups parallel the linguistic variations and micro-adaptations to social and physical environment and comprise: (1) Misamis, (2) Lapuyan, (3) Sindangan, (4) Tuboy, and (5) Salug.\n\nThe cultural and technological adaptation is upland riverine. They practice swidden cultivation on mountain slopes. The traditional settlement pattern is highly dispersed with a few residential structures on top of ridges near potable water sources. The houses are placed adjacent to cultivated fields. They favor locations near springs where water gushes out of rocks over contiguous to streams.\n\nRice is the preferred food crop, but fields are also rotated and intercropped, planted with corn, sweet potato, and cassava. Land problems and soil degradation have forced some of the people to recourse to wet rice agriculture where the topography allows. Metal craft and backstrap weaving are practiced. They have maintained trade with coastal peoples for centuries, as indicated by the presence of Asian stone and ceramic trade wares. Present-day Subanon are usually nonaggressive. There are indications that in the past, the people were required to provide a “soul companion” for an important deceased relative.\n\nUnique to the Subanon is their set of rituals, the buklog, the main feature of which is a huge dancing platform (buklogan). This structure is raised some 10 to 18 feet high and consists of a highly resilient platform supported at the corners by upright posts. A long pole is passed through the middle of the platform and extends upwards like a maypole. Below it is a short thick hollowed log that lies above a trench filled with empty jars functioning as resonating chambers. The pole rises and falls when dancers rhythmically bounce on the platform. The booming sound invites people to come and join in the ritual and festival. There is feasting, wining, and dancing lasting for days, with as many as two hundred people dancing on the buklogan continuously, day and night.\n\nThe ritual consists of a complex set of rites performed before the culminating event, usually near waterways, and which serve to propitiate spirits. The buklog is a prestige ritual that has a multitude of functions, such as celebrating well- being and a good harvest, and giving thanks to appease spirits after an illness. It may also honor personalities, welcome back homecomers, or praise a new timuay (leader). Finally, it is held to pay respects to the spirits of the dead, for the final sending of the spirit of the ancestor and the death anniversary of a grandparent.\n\nThe Subanen form a subgroup and are related to the Subanon but are concentrated in Siocon, Zamboanga del Norte.

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.

ICH Video Production in the Asia-Pacific Region : Central Asia\n\nRapid urbanization and westernization are changing the environments in which intangible cultural heritage is rooted. The importance of documentation that traces the effect of social changes on intangible cultural heritage is being emphasized as a safeguarding measure. Quality video documentation is an important resource that enables the conservation and transmission of existing intangible cultural heritage and raises its visibility.\n\nVideo documentation is the best medium to record intangible cultural heritage in the most lifelike manner, using the latest technologies. It is also an effective tool for communicating with the public. However, conditions for video production in the Asia-Pacific remain poor, requiring extensive support for quality video documentation.\n\nICHCAP has been working to build the safeguarding capabilities of Member States and raise the visibility of intangible cultural heritage in the Asia-Pacific by supporting the true-to-life documentation of intangible cultural heritage as this heritage is practiced and cooperating with experts, communities, and NGOs in related fields.\n\nSince 2010, ICHCAP has hosted annual Central Asian sub-regional network meetings with Uzbekistan, Kazakhstan, Kyrgyzstan, Tajikistan, and Mongolia to support the ICH safeguarding activities of Central Asia. Through their collaboration, ICHCAP has supported projects involving collecting ICH information, producing ICH websites, and constructing ICH video archives.\n\nAt the Sixth Central Asia Sub-regional Network Meeting in Jeonju in 2015, ICHCAP, four Central Asian countries, and Mongolia adopted a second three-year cooperation project plan on producing ICH videos to enhance the visibility of ICH in Central Asia.\n\nICHCAP developed guidelines and training programs for the project and invited video and ICH experts from the participating countries, and held a workshop in November 2015. After the workshop, focal points for the project were designated in each country, and each focal point organization formed an expert meeting and a video production team to produce ICH videos.\n\nInterim reports were submitted to ICHCAP in February 2016, and the first preview screening was held in Dushanbe, Tajikistan, during the Seventh Central Asia Sub-regional Network Meeting in May 2016. Since then, each country has carried out the project according to the project plan. ICHCAP met with each country between October 2016 to February 2017 to check on the project progress.\n\nAfter the final preview screening during the Eighth Central Asia Sub-regional Network Meeting in Bishkek, Kyrgyzstan, in 2017, final editing process took place in each country, and fifty ICH videos were completed by October 2017.\n\nAll photos introduced on this page along with fifty ICH videos are from the exhibition 'Living Heritage: Wisdom of Life' held in the Republic of Kyrgyzstan and the Republic of Korea. Designed for introducing various ICH in the five countries, this exhibition shows photos on representative twenty elements in each country collected during the process of on-site survey and documentation for ICH Video Production Project in Central Asia by experts participated in the ICH video production project.\n\nICHCAP will continue its ICH documentation projects in the Asia-Pacific region for the next ten years by expanding the scope from Central Asia and Mongolia to Southeast Asia, Southwest Asia, and the Pacific.\n\n\nPartners\nMongolian National Commission for UNESCO • National Commission of the Kyrgyz Republic for UNESCO • National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • National Commission of the Republic of Uzbekistan for UNESCO • National Commission of the Republic of Tajikistan for UNESCO • Foundation for the Protection of Natural and Cultural Heritage Mongolia • National Committee for the Safeguarding of the Intangible Cultural Heritage under the National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • School of Fine Art and Technical Design named after Abylkhan Kasteyev • State Institute of Arts and Culture of Uzbekistan • Tajik film • Tajikistan Research Institute of Culture Information • Korea Educational Broadcasting System • Asia Culture Center\n\nSupporters\nUNESCO Almaty and Tashkent Cluster Offices • Cultural Heritage Administration • Panasonic Korea • Turkish Airlines

1. The second track has performances of two rāgas, one immediately following the other. In Telugu, the title means, “Know that the supreme soul shines everywhere.” Oral tradition has it that Tyagarāja composed and sang this song shortly before his death, when he had formally be come a saṃnyāsi, one who renounces the world, and that this gives the song its sublime beauty. Rāga nīlāmbarī: ālāpana precedes a kirtana in ādi tāḷa, ambā nīlāmbarī, translated from Telugu as “Mother, blue sky, Ocean of joy” by Tañjāvūr Ponnayya Pillai (1804-1864). Ponnayya Pillai and his three brothers, all students of Muttusvāmi Dīkṣitar (1775-1835), were renowned composers, naṭṭuvanārs (dance masters), and performing musicians. Dīkṣitar’s compositions represent a somewhat different tradition within Karṇāṭak music from his contemporary, Tyagarāja Nīlāmbarī. This music has its roots in ancient Tamil music where paṇ mēkarāgakkuriñci, known from the tēvāram songs of the seventh and eighth century CE, corresponds to this rāga. It is quite different from the Hindustāni rāga of the same name. 2. Rāga jayantasena: kirtana in ādi tāḷa, “vinatāsuta vāhana śrī ramana” (Telugu, Śrī Ramaṇa, with Vinatā’s son Garuḍa for your mount) by Tyagarāja. Jayantasena is a rare rāga known principally through this one kirtana. The ensemble plays the kirtana, “Vinatāsuta vāhana śrī ramana” without melodic improvisation to the fade-out. The tavil, however, plays inventively in the spaces created in the performance.

This is a work song usually sung when cutting grass or reaping wheat. The lyrics encourage the workers and mourn the death of the plants. They also contain jokes to break the monotony of the work.

Same (Sung Liturgical Chorus\nMethodist evangelists, the first Westerners to influence the Fijian society, realized the overwhelming challenge of introducing Christianity to such a complex society. One of the tools they utilized for the Christian liturgy was the meke, or traditional dance. Meke was used as a preaching tool in introducing Christianity. Its text spoke directly to Fijians in their oral traditions. Same, a transliterated name, is not a psalm (as in the Bible) but an indigenous liturgy with Christian text composed in the form of Fijian poetry fitted to the music of the meke. The origin of the same is not clear. However, given the fact that the early missionary activities were concentrated in Eastern Fiji, it can be safely assumed that the Christians started to use same for their services in this region. The sound, vocal parts, and lyrics of the same are entirely iTaukei; however, its only difference with a meke is that the same is religiously (Christian) focused.\n----------------------------------\nSere Ni Lotu (Christian Hymnody)\nOne definition of a hymn is a lyric poem, reverently and devotionally conceived, which is designed to be sung to express a worshipper’s attitude toward God or God’s purposes in human life. It is simple and metrical in form, genuinely emotional, poetic and literary in style, and spiritual in quality and in its ideas. Fijian sere ni lotu are direct transplants of English Methodist hymnodies, where the Fijian text mirrors the form and style of its English counterpart. The style of the sere ni lotu follows the Western major and minor scale, especially in the polyphony and voice categorizations of sopranos, contraltos, tenors, and basses.\n\nHistorically, sere ni lotu is a turnaround from the traditional styles and melodic forms of the meke and same becoming popular and entrenched as Christianity gained a stronger hold in iTaukei Fijian society.\n- Black, H. Sere dina ni Lotu Wesele e Viti - True Songs. Canberra: Australian National University, 2010. -

CD9_KARTATAK CLASSICAL INSTRUMENTAL MUSIC – NAGASWARAM PERFORMANCE BY KOTTUR RAJRATHNAM PILLAI\n\nKottur N. Rajarathnam is a master of the south Indian conical-shaped reedpipe with a double reed known as the n ā gasvaram (Sanskrit; Tamil spelling: n ā kacuram ) or n ā dasvaram . He leads an ensemble of musicians known as periya m ēḷ am (Tamil, “the big ensemble”), which for centuries has been producing auspicious music ideal for offering to the gods and for enabling a joyous ambiance at weddings and other important life-cycle events. Indeed, at weddings and the events surrounding the actual wedding ceremony, the periya mēḷam is expected to accompany women who sing traditional songs for the each stage of the wedding. The ensemble is at its best when performing at night on the streets surrounding the major temples, as the instruments are ideal for an outdoor setting. Temple musicians and a visiting ensemble often perform as part of temple activities and all-night street processions, and indoors for concerts and at weddings and other life-cycle events. \n\nPlayers carefully modulate their tone to suit the acoustics of indoor spaces. Accompanying Kottur Rajarathnam is a second nāgasvaram player, shadowing his playing and helping to maintain the continuity of the performance. He is a skilled master drummer, who plays the tavil (sometimes known as tavul ). He plays this double-skin barrel drum with a beater in the left hand and the four fingertips of the right hand covered by thimbles, producing a characteristically bright, sharply percussive range of sounds. The tavil matches the nāgasvaram in brightness of sound, volume, and penetrating tone. The t āḻ am (small hand cymbals made of bell metal) marks the rhythmic cycle being performed and a free-reed bellowspumped drone box, the curutipe ṭṭ i (Tamil, “drone box”), produces the necessary tonal reference for the nāgasvaram. Since the mid-twentieth century, the instrumentation of the periya mēḷam has undergone changes. Perhaps most significantly, the pitch of the nāgasvaram and of the tavil has been lowered. The nāgasvaram and tavil became larger to produce a deeper sound. In this recording, Kottur Rajarathnam and his ensemble play four rāgas, including four kirtanas (a devotional song genre) and three kinds of improvisation characteristic of Karṇāṭak music. Improvisation in Karṇāṭak music can be understood as unmetered melodic improvisation and as metered improvisation following the performance of the compositions. The unmetered improvisation heard here is known as ā l ā pana (Sanskrit, “conversation”) and is unmetered melodic exploration of a rāga. The two kinds of metered improvisation heard here are svara kalpana (“note imagination”) and tavil solo improvisation. Svara kalpana is played after the composition has been concluded. It consists of sequential passages of svara (“note”) playing that develop from short, relatively slow passages to longer passages at faster speeds. Though they might not all start from the same position relative to the tāḷa cycle, each of the each svara kalpana passages concludes with a return to a selected phrase of the composition. For his performance, Kottur Rajarathnam selected three songs by Tyagarāja. This comes as no surprise, as this outstanding composer left a plethora of compositions ranging from short pieces for religious congregational singing to the most sophisticated and erudite compositions. He is also well known for having produced standalone compositions in rare rāgas, such as the composition in rāga vāgadīśvarī in this album. Tyagarāja (b. Tiruvaiyyār, 1767-1847) was a saintly brāhmaṇ composer. His family was from Andhra Pradesh but settled in Tañjāvūr. His grandfather Girirāja was a poet and musician at the court of the maharāja of Tañjāvūr. Tyagarāja composed kirtanas in his mother tongue, Telugu, as well as in Sanskrit. He is revered by musicians and music-lovers as one of three great contemporary composers, whose brilliance and popularity have almost obscured the music and achievements of their predecessors. In the popular mind, Tyagarāja is the most prominent of all Karṇāṭak musicians and his annual memorial celebrations ( ā r ā dhana) attract hundreds of musicians, thousands of audience members, and even more listeners through the broadcast media. His life story was made into a film and numerous bhāgavatars continue to re-tell versions of his life replete with his compositions. His charisma and his exceptional musical repertoire was passed down with succeeding generations of singers and instrumentalists who have polished his works. His pieces have even penetrated the repertoire of dancers attracted by the music, even though his compositions were not originally intended for dance, though he did write several music dramas. Tyagarāja unequivocally rejected the offers of position as a court musician as he was completely averse to singing the praises of mere mortals—something court musicians were obliged to do. Instead he lived an austere life, composing as an expression of religious devotion ( bhakti ), especially to his beloved Rāma. The kirtana form that Tyagarāja favored had two or three sections. \n\nAll the kirtanas in this album have three sections: pallavi, anupallavi, and caraṇam. In the pallavi the semantic theme of the composition is stated, though this is not apparent when an instrumentalist performs. The anupallavi develops the raga and moves the melodic range higher up the scale to the higher octave. After the anupallavi, the pallavi is repeated as a refrain. The caraṇam usually moves into the middle range and often explores the lower octave. The pallavi refrain is repeated to conclude the performance. A common feature in many of Tyagaraja’s kirtanas is the repetition of the anupallavi melody as the second half of the usually longer caraṇam. These audio recordings are extracted from the collection of video recordings made by Yoshitaka Terada, a wellknown scholar of the Nagaswaram who has written extensively on the topic.

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.

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.

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.'

2019 World Forum for Intangible Cultural Heritage