To provide artisans with the opportunity to realize their creative capacity, and to insure that craft traditions remained genuine cultural heritage, Judy Frater began a design education program for artisans in Kutch. In 2005, Kala Raksha Vidhyalaya opened its doors to artisan students: traditional weavers, ajrakh printers, bandhani artists, and embroiderers, with no further prerequisites of age or formal education.\nIn 2014, the year-long program evolved and expanded to Somaiya Kala Vidya. In six two-week intensive residential sessions spread over a year, artisan students learn to innovate within their traditions. nThe most innovative tool that we use in our design classes is simply to present problems to solve. We also draw on local traditions and teach as practically as possible. In effect, the design course re-imagines traditional systems in an appropriate contemporary form. Master artisan advisors teach students about traditions, as children once learned from elders; weavers, printers, and dyers learning together revitalizes the inherent interdependence in traditional textiles; and interface with urban markets reinvents direct contact with hereditary clients.\nAfter design education for artisans in Kutch reached its goals, Somaiya Kala Vidya is scaling out their approach to other regions. Keeping cultural heritage as the foundation, they intend to teach design within regions, drawing on local language and culture.

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As a UNESCO category 2 center, ICHCAP organized the youth ICH storytelling contest with the aim to support ICH safeguarding activities of young practitioners. Youth practitioners play an essential role, as ICH relies on direct transmission among community members. Their activities and involvement will hopefully contribute to raising awareness of ICH worth protecting. The story below won the Grand Prize of the 2019 Asia-Pacific Youth ICH Storytelling Contest. \n\n---------------------------------\nThe Hát Bội is Vietnamese intangible traditional performing art which has taken shape, developed during Vietnam history and is still preserved. The Hát Bội is form of traditonal opera which has a 500 old year long history of development in Vietnam. It contains features close to the culture in many other countries in Asia. My name is Anh Quan, I am sophomore of The Ho Chi Minh City University of Culture in Vietnam. \n\nWhen I started in junior high school, I had opportunity to study and enjoy The Hát Bội. These images, stage, eyes, gestures of The Hát Bội are so excited. But I strongly impress by artists’ face. This emotion is always with me in my thoughts. When I have been a student. Immediately, I go to The Ho Chi Minh city Hát Bội Theater to learn more about this art. Hát Bội relies on the principles of symbolization and stylization. These principles prodoundly influence Hát Bội typical dance/ gesture and makeup by which Hát Bội in distinguished from other traditional performing arts. Being the essences of Hát Bội, gesture and dance are perfomrmed based on several rules of symbolization and stylization with the aim of sophisticatedly expressing the feeling and emotion of characters and other implications of plays. These artists of Hát Bội have to understand very well about principles of symbolization and stylization and when they makeup and. Makeup is definitely the outward essence Hát Bội indicate the specific and personality of every character. The articial materials for making-up a disguise includes as followings: Multi-colours-lipsitcks, powder in multi-colors, the balckening-wax or the ash-like-black powder, the zinc-powder in golden-red– a mixture of the deep-red and golden powder, powder in blue, in green, and in yellow. With many special kinds of professional tools, such as: Tooth sticks, fingernail like kinife flat which look like a spoon – flat and made of wood.\n\nI observe artists makeup , I dream that i can makeup like them. I want to pursue my dream of being one of characters of Hát Bội. With the help of Thanh Bình Artist, I have fulfilled my dream. I feel virtuosity, sophistication and passion of Thanh Binh Artist when he makeup for me.\nThe face painting in an original feature in Hát Bội as well as in some forms of opera in Southeast Asia .The make-up in Hát Bội ( chiefly for male personages , rarely for female ones) includes three main parts : painting the complexion, drawing lines on the face and pasting false beards. There is nothing called the realistic things to identify but absolutely living - symbols in the art of the Hát Bội with its speical ways of disguiting for whole characters at all.\n \nLooking at the face makeup, the audiences can understand wether a character is good or bad, loyal or disloyal, etc. Below are some basic colour used in Hát Bội makeupnRed: Loyal, unyielding personnWhite: artful flatterernGreen: intelligent person or person with venturesome spirit or short lifenYellow: gentle and virtuous personnBlack: Furious and vigorous personnThat is the dialectics of the art of theatrical masks attained by masterly (mask makers, makeup, artist). nThe above special things may be generally get a common concept for us all to comprehend some intersted – things in many kinds of the characters and characteristics in traditional culture and art of the Hát Bội. \n\nThe Hát Bội has any characters. Currently, plays of Hát Bội are mainly performed at the temple (or shrine). The young generation do not strongly like the traditional art include The Hát Bội. Few young people are passionate about traditional art, this situation make the training for young people quite so difficult. For make youth generation learn more about The Hát Bội. Over the past years, The Ho Chi Minh city Hát Bội Theater has organized program called “The school stage” to introduce The Hát Bội to pupils and students.\n\nThis program around the content: history of formation and development of The Hát Bội, dance, and makeup art. Besides that, performance of historical topics, excerpts about children to raise patriotism, hope students have the opportunity to learn more about The Hát Bội. I think this working is very well for young people. That thing will make me and young people will love and have positive emotion with the traditonal stage. I hope The Ho Chi Minh city Hát Bội Theater always create other program to performance for community. To get deeply understanding about Hát Bội, warmly welcome to The Ho Chi Minh city Hát Bội Theater – Vietnam. I am so happy when I have chance to get experience and share excited valid content of The Hát Bội for every body. Vietnam also has so many traditonal arts. The Hát Bội is one of them. For protecting and delivering The Hát Bội, I think the young generation have to focus on studing intangible culture of country. I aslo contribute a little working for do that. I hope other young person will do that like me. I am going to keep my passion to learn more about traditonal of Vietnam also the other coutries over the world. Vietnam - a friendly destinaton always warmly welcome all of you, we have so many stories to talk with you. When you meet me together, I am going to “play” the Hát Bội for you. Because I really become “an actor” of The Hát Bội by my heart in my dream.

The name Zhana Ngacham comes from the zhana (black hats) worn by the dancers and the use of the ngachung (small drum) during the Cham performance. It is another form of Zhana Cham (black hat dance). Usually, the dance is performed mainly by monks in dzongs (fortresses), monasteries and temples during Tshechu (annual mask dance festival) and also during Drubchen (large ritual ceremonies). However, sometimes the dancers are replaced by lay people if there are no monastic facilities in the community. The dance falls under the category of Tsun cham (monastic mask dance performances). \n\nThe dancers wear a long brocade robe called phoegho with long and wide sleeve ends, a dorji gong (a crossed vajra collar) over the shoulder, and two phoe-cho or phoe-tog, a horn-like tool attached to either side of the hips that helps the robe turn smoothly and elegantly as the dancers twirl. The distinctive feature of the Black Hat dance is the black, spherical hat with decorations in the shape of a human skull and peacock quill, and Thro-pang, an angry face wrapped around the front of the abdomen. \n\nZhana Ngacham is usually performed by 21 dancers under the direction of Cham-pon (dance leader) and Cham-jug (deputy leader). In the seventeenth century, Zhabdrung Ngawang Namgyal (1594-1651) is revered for giving more importance to the performance of such dances and including them in the curricula of the central monastery under the title Gar-thig-yang-sum (mask dances, proportions mandala drawing and ritual intonation) to establish them in the field of cultural heritage in Bhutan.

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

On 12 and 13 November 2020, ICHCAP and the ICH NGO Forum virtually held the 2020 ICH NGO Conference entitled “ICH and Resilience in Crisis.” The fifteen participants, including eleven selected presenters from ten countries around the world, discussed various cases and activities of each country applied under the Corona-era, and proposed solidarity for the resilience of ICH for a ‘New Normal.’\n\nSession 1: In the Vortex: COVID-19 Era, Roles of NGOs to Safeguard ICH\n\nSpecial Lecture 1: 'Resilience System Analysis' by Roberto Martinez Yllescas, Organization for Economic Co-operation and Development (OECD) in Mexico\n1. 'Uncovering the veil of immaterial cultural heritage towards and autonomous management of well-being as well as cultural and territorial preservation' by Carolina Bermúdez, Fundación Etnollano\n2. 'Holistic Development Model of Community-Based Intangible Cultural Heritage of Yuen Long District in Hong Kong of China' by Kai-kwong Choi, Life Encouraging Fund \n3. 'Indigenous Knowledge System as a vector in combating COVID-19' by Allington Ndlovu, Amagugu International Heritage Centre\n4. 'Enlivening Dyeing Tradition and ICH: The initiative of ARHI in North East of India' by Dibya Jyoti Borah, President, ARHI\n\nSession 2: Homo Ludens vs. Home Ludens: Changed Features COVID-19 Brought\n\n1. 'The Popular Reaction to COVID-19 from the Intangible Cultural Heritage among Member Cities of the ICCN' by Julio Nacher, ICCN Secretariat, Algemesi, Spain\n2. 'Innovation for Arts and Cultural Education Amid a Pandemic' by Jeff M. Poulin, Creative Generation\n3. 'Promoting Heritage Education through Intangible Cultural Heritage in the Kalasha Valleys of Pakistan' by Ghiasuddin Pir & Meeza Ubaid, THAAP\n4. 'Shifting to Online Activities: Digital Divide among the NGOs and ICH Communities in Korea' by Hanhee Hahm CICS\n\nSession 3: Consilience: Prototype vs. Archetype for Educational Source\n\nSpecial Lecture 2: 'Geographical imbalance: the challenge of getting a more balanced representation of accredited non-governmental organizations under the 2003 Convention' by Matti Hakamäki, Finnish Folk Music Institute\n1. 'Crafting a Post Covid-19 World: Building Greater Resilience in the Crafts Sector through Strengthening Ties with its Community’s Cultural System' by Joseph Lo, World Crafts Council International\n2. 'Arts and Influence: Untangling Corporate Engagement in the Cultural Sector' by Nicholas Pozek, Asian Legal Programs, Columbia University\n3. 'ICH in the South-Western Alps: Empowering Communities through Youth Education on Nature and Cultural Practices' by Alessio Re & Giulia Avanza, Santagata Foundation for the Economy of Culture\n\n

Kanur Sane Pirit Kori: Sumana Chaudhuri\nThis section consists of different genres of folk music which includes Baul Fakiri, Bhatiyali, Bhawaiya, Jhumur and Puratani Geet. The Bhawaiya, Bhatiyali, Jhumur and Baul Fakiri songs have been introduced in the previous section. The following is the brief introduction to Puratani songs.\n? Puratani Geet:The thousand years old history of Bengal’s music has no special mention of any particular school of music called Puratani Bangla Gaan; yet the word Puratani Gaan is quite popular among the music lovers of Bengal. Actually the songs that we hear as Puratani Gaan are the ones that were popular during the period of Company Rule or were in vogue in the Darbars or drawing rooms of the kings, landlords or the gentry of Kolkata. Many people call the songs of old Kolkata and those belonging to an earlier period as Puratani Gaan. During the Middle Ages Bengal’s music witnessed an amalgamation of Hindu and Muslim tunes, lyrics, ragas, stylization and presentation. There is no denying the fact that it has enriched the repertoire of Bangla Music.

Kanur Sane Pirit Kori: Sumana Chaudhuri\nThis section consists of different genres of folk music which includes Baul Fakiri, Bhatiyali, Bhawaiya, Jhumur and Puratani Geet. The Bhawaiya, Bhatiyali, Jhumur and Baul Fakiri songs have been introduced in the previous section. The following is the brief introduction to Puratani songs.\n? Puratani Geet:The thousand years old history of Bengal’s music has no special mention of any particular school of music called Puratani Bangla Gaan; yet the word Puratani Gaan is quite popular among the music lovers of Bengal. Actually the songs that we hear as Puratani Gaan are the ones that were popular during the period of Company Rule or were in vogue in the Darbars or drawing rooms of the kings, landlords or the gentry of Kolkata. Many people call the songs of old Kolkata and those belonging to an earlier period as Puratani Gaan. During the Middle Ages Bengal’s music witnessed an amalgamation of Hindu and Muslim tunes, lyrics, ragas, stylization and presentation. There is no denying the fact that it has enriched the repertoire of Bangla Music.

Bengali Folk Song\nThis section consists of different genres of folk music which includes Baul Fakiri, Bhatiyali, Bhawaiya, Jhumur and Puratani Geet. The Bhawaiya, Bhatiyali, Jhumur and Baul Fakiri songs have been introduced in the previous section. The following is the brief introduction to Puratani songs.\n? Puratani Geet:The thousand years old history of Bengal’s music has no special mention of any particular school of music called Puratani Bangla Gaan; yet the word Puratani Gaan is quite popular among the music lovers of Bengal. Actually the songs that we hear as Puratani Gaan are the ones that were popular during the period of Company Rule or were in vogue in the Darbars or drawing rooms of the kings, landlords or the gentry of Kolkata. Many people call the songs of old Kolkata and those belonging to an earlier period as Puratani Gaan. During the Middle Ages Bengal’s music witnessed an amalgamation of Hindu and Muslim tunes, lyrics, ragas, stylization and presentation. There is no denying the fact that it has enriched the repertoire of Bangla Music.

Bengali Folk Song\nThis section consists of different genres of folk music which includes Baul Fakiri, Bhatiyali, Bhawaiya, Jhumur and Puratani Geet. The Bhawaiya, Bhatiyali, Jhumur and Baul Fakiri songs have been introduced in the previous section. The following is the brief introduction to Puratani songs.\n? Puratani Geet:The thousand years old history of Bengal’s music has no special mention of any particular school of music called Puratani Bangla Gaan; yet the word Puratani Gaan is quite popular among the music lovers of Bengal. Actually the songs that we hear as Puratani Gaan are the ones that were popular during the period of Company Rule or were in vogue in the Darbars or drawing rooms of the kings, landlords or the gentry of Kolkata. Many people call the songs of old Kolkata and those belonging to an earlier period as Puratani Gaan. During the Middle Ages Bengal’s music witnessed an amalgamation of Hindu and Muslim tunes, lyrics, ragas, stylization and presentation. There is no denying the fact that it has enriched the repertoire of Bangla Music.

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 28 is 'ICH and Sacred Cultural Spaces.'

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 42 is 'ICH FESTIVALS ON THE SILK ROAD.'