Republican cultural institutions established on the basis of the organization, which has been operating since 1936, first in the form of the House of Folk Art, then the Republican Scientific and Methodological Center of Folk Art and Cultural Enlightenment, by the Decree of the President of the Republic of Uzbekistan dated February 15, 2017.\nThe scientific-methodical center for the organization of activities is a state institution under the Ministry of Culture of the Republic of Uzbekistan, whose main task is to comprehensively study the problems of public administration in cultural and art institutions operating in all regions of the country, as well as in the field of culture. to assist in the full implementation of state policy, to ensure active cooperation with public administration and local authorities, to preserve and develop the rich traditions and achievements of our national art, to promote theater, museums, library, creative associations, culture to raise the status of recreation and recreation parks, cultural and recreational centers and concert venues, to submit to the Ministry analytical and critical presentations on the activities of cultural and artistic institutions and to further develop and strengthen their material and technical base further development of creative work carried out by cultural institutions within the framework of its rights and obligations through the development of the necessary recommendations, the formation of a system of training and retraining in accordance with modern requirements and scientific and methodological activities.

\nThe Finnish Folk Music Institute Is a Centre for the Research and Presentation of Finnish Folk Music and Dance. Its premises are in the Folk Art Centre at Kaustinen, Central Ostrobothnia. The extensive archive and reference library are accessible for any user. The material consists of audio and video recordings, photos, literature and a newspaper clipping collection of over 100 000 pieces.\nThe Folk Music Institute is also a significant publisher: the album collection features archive collections as well as contemporary folk music, and the range of books consists of sheet music and scientific publication from the field of folk music and tradition.\nFinnish Folk Music Institute supports Finnish folk music and folk dance communities in safeguarding their intangible cultural heritage by: documenting living folk music and dance traditions; publishing recordings, books and notes on Finnish folk music, educating children in folk music and ICH; educating academic folk music students, advancing research of folk music and dance; participating in organizing the biggest folk music and dance festival in Finland; networking nationally and internationally with other folk music and heritage organizations; and promoting the interests of folk music and ICH in national cultural politic.

Shashmaqam (means the six Maqams (modes)) is a Central Asian musical genre (typical of Tajikistan and Uzbekistan) which firstly developed in Bukhara. Shashmaqom (in Farsi - "Six maqoms") is a leading musical-cyclic genre of musical heritage of Uzbek and Tajik people. It includes a cycle of complex and perfect instrumental as well as vocal compositions encompassing different types of melos, forms, usuls (rhythmic formulae) and performances. Shashmaqom is a cycle consisting of six maqoms, namely Buzruk, Rost, Navo, Dugoh, Segoh and Iroq. Each of these consists of two parts respectively, i.e. instrumental one (which is called "Mushkilot") and vocal one (which is called "Nasr"), representing more than 250 cycles of instrumental and vocal compositions in total. Shashmaqom got formed in urban environment, and its bearers of traditions were well-known musicians and singers. Its vocal part was performed in Uzbek and Tajik languages. The texts were mainly taken from the poems of classics of oriental poetry (i.e. Rudaki, Jami, Lutfi, Navoi, Babur, Khafiz, Fizuli, Amiri, Nodira, Zebuniso, Ogahiy and others) and were dedicated to love-related, lyrical, philosophical, didactic, religious themes. Folk poetry examples were also used. Most widely used musical instrument was tanbur. It is based on tuning tanbur that the tonal basis of maqoms emerged. Instrumental part of each maqom included instrumental compositions such as "Tasnif", "Tarje", "Gardun", "Mukhammas" and "Sakil", performed either solo or by instrumental ensemble. However, each part differed with its own tune, character of melody, structure and usuls of doira. Vocal parts are considered the most difficult and complete ones in terms of structure, melos and form and are divided into two cycles (shuba): the first one includes "Sarakhbor", "Talqin", "Nasr" and "Ufar", performed by leading singer - hofiz (their melodies are more developed, of great range and complex form). Between main parts "Tarona" was sung by vocal ensemble as a connecting one (it is a small vocal piece, which has its own tunes, feature and forms). The second cycle (shuba) includes five-part cycles "Moghulcha" and "Savt" (except maqom "Iroq"). In addition to main parts, each maqom incorporates additional compositions: instrumental one (naghma, peshrav, samoyi, hafif), and vocal one (uzzol, ushshoq, bayot, chorgoh, nasrullo, oraz, khusayniy, navrozi sabo, khoro and ajam), the creators of which were bastakors (creators of oral musical tradition). Shashmaqom got formed, has been preserved, mastered and transmitted from generation to generation verbally, based on "Ustoz-shogird" ("master-apprentice") method of learning.

Shashmaqam (means the six Maqams (modes)) is a Central Asian musical genre (typical of Tajikistan and Uzbekistan) which firstly developed in Bukhara. Shashmaqom (in Farsi - "Six maqoms") is a leading musical-cyclic genre of musical heritage of Uzbek and Tajik people. It includes a cycle of complex and perfect instrumental as well as vocal compositions encompassing different types of melos, forms, usuls (rhythmic formulae) and performances. Shashmaqom is a cycle consisting of six maqoms, namely Buzruk, Rost, Navo, Dugoh, Segoh and Iroq. Each of these consists of two parts respectively, i.e. instrumental one (which is called "Mushkilot") and vocal one (which is called "Nasr"), representing more than 250 cycles of instrumental and vocal compositions in total. Shashmaqom got formed in urban environment, and its bearers of traditions were well-known musicians and singers. Its vocal part was performed in Uzbek and Tajik languages. The texts were mainly taken from the poems of classics of oriental poetry (i.e. Rudaki, Jami, Lutfi, Navoi, Babur, Khafiz, Fizuli, Amiri, Nodira, Zebuniso, Ogahiy and others) and were dedicated to love-related, lyrical, philosophical, didactic, religious themes. Folk poetry examples were also used. Most widely used musical instrument was tanbur. It is based on tuning tanbur that the tonal basis of maqoms emerged. Instrumental part of each maqom included instrumental compositions such as "Tasnif", "Tarje", "Gardun", "Mukhammas" and "Sakil", performed either solo or by instrumental ensemble. However, each part differed with its own tune, character of melody, structure and usuls of doira. Vocal parts are considered the most difficult and complete ones in terms of structure, melos and form and are divided into two cycles (shuba): the first one includes "Sarakhbor", "Talqin", "Nasr" and "Ufar", performed by leading singer - hofiz (their melodies are more developed, of great range and complex form). Between main parts "Tarona" was sung by vocal ensemble as a connecting one (it is a small vocal piece, which has its own tunes, feature and forms). The second cycle (shuba) includes five-part cycles "Moghulcha" and "Savt" (except maqom "Iroq"). In addition to main parts, each maqom incorporates additional compositions: instrumental one (naghma, peshrav, samoyi, hafif), and vocal one (uzzol, ushshoq, bayot, chorgoh, nasrullo, oraz, khusayniy, navrozi sabo, khoro and ajam), the creators of which were bastakors (creators of oral musical tradition). Shashmaqom got formed, has been preserved, mastered and transmitted from generation to generation verbally, based on "Ustoz-shogird" ("master-apprentice") method of learning.

Shashmaqam (means the six Maqams (modes)) is a Central Asian musical genre (typical of Tajikistan and Uzbekistan) which firstly developed in Bukhara. Shashmaqom (in Farsi - "Six maqoms") is a leading musical-cyclic genre of musical heritage of Uzbek and Tajik people. It includes a cycle of complex and perfect instrumental as well as vocal compositions encompassing different types of melos, forms, usuls (rhythmic formulae) and performances. Shashmaqom is a cycle consisting of six maqoms, namely Buzruk, Rost, Navo, Dugoh, Segoh and Iroq. Each of these consists of two parts respectively, i.e. instrumental one (which is called "Mushkilot") and vocal one (which is called "Nasr"), representing more than 250 cycles of instrumental and vocal compositions in total. Shashmaqom got formed in urban environment, and its bearers of traditions were well-known musicians and singers. Its vocal part was performed in Uzbek and Tajik languages. The texts were mainly taken from the poems of classics of oriental poetry (i.e. Rudaki, Jami, Lutfi, Navoi, Babur, Khafiz, Fizuli, Amiri, Nodira, Zebuniso, Ogahiy and others) and were dedicated to love-related, lyrical, philosophical, didactic, religious themes. Folk poetry examples were also used. Most widely used musical instrument was tanbur. It is based on tuning tanbur that the tonal basis of maqoms emerged. Instrumental part of each maqom included instrumental compositions such as "Tasnif", "Tarje", "Gardun", "Mukhammas" and "Sakil", performed either solo or by instrumental ensemble. However, each part differed with its own tune, character of melody, structure and usuls of doira. Vocal parts are considered the most difficult and complete ones in terms of structure, melos and form and are divided into two cycles (shuba): the first one includes "Sarakhbor", "Talqin", "Nasr" and "Ufar", performed by leading singer - hofiz (their melodies are more developed, of great range and complex form). Between main parts "Tarona" was sung by vocal ensemble as a connecting one (it is a small vocal piece, which has its own tunes, feature and forms). The second cycle (shuba) includes five-part cycles "Moghulcha" and "Savt" (except maqom "Iroq"). In addition to main parts, each maqom incorporates additional compositions: instrumental one (naghma, peshrav, samoyi, hafif), and vocal one (uzzol, ushshoq, bayot, chorgoh, nasrullo, oraz, khusayniy, navrozi sabo, khoro and ajam), the creators of which were bastakors (creators of oral musical tradition). Shashmaqom got formed, has been preserved, mastered and transmitted from generation to generation verbally, based on "Ustoz-shogird" ("master-apprentice") method of learning.

The tradition of doira performance in Uzbekistan is an integral part of the nation’s musical heritage and identity. The doira is a circular frame drum made from a wooden rim covered with leather, often fitted with metal rings or jingles. It produces a wide range of tones and rhythmic effects, serving as both a solo and accompanying instrument.\nIn Uzbek culture, doira is played in various contexts: to accompany classical music genres such as maqom and ashula, at weddings and festive gatherings, and as a key rhythmic foundation in folk dances. Master performers develop a deep understanding of usul (rhythmic cycles), improvisation, and expressive performance techniques.\nBeyond its musical role, the doira represents the artistry, craftsmanship, and communal traditions of Uzbekistan, uniting people in celebration and cultural expression.

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. The 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.

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.

CD6_WOMEN’S VOICES FROM THE MOUNTAINS\n\nThe women performing here are not professional musicians. These songs are part of the everyday life of women. Women’s songs are often work songs sung while grinding, threshing, and pounding, as a way to while away the tedium of long laborious tasks and provide a rhythm as well as companionship. Women play a key role in rituals, singing narratives and ballads as well as life cycle songs for events such as birth, marriage, and death. Wedding songs form a large part of the repertoire of women in India. This important part of the intangible cultural heritage of India is disappearing with urbanization and migration to cities, and with mechanization that takes away the need for grinding and pounding. Moreover, recorded music and television are taking the place of song. Thus, the recording and documentation of these traditions become more important. Namely, recordings of the voices of the woman in the home and in the fields, who carry out the rituals for their families and the gods who protect them, hold immense value. This is a compilation of women’s songs from the foothills of the Himalayas, Kangra in Himachal Pradesh (the “land of the snows”), and from high up in the Garhwal Himalayas in Uttarakhand (the “northern land”). Though not connected, there are similarities in the themes between the ghasyari songs and khuder of Garhwal and the pakaharu of Kangra. Women sing about their hardships, such as their daily struggles with marriage, absent husbands, and about the friendship among women. These songs do not have any instrumental accompaniment. The songs are from the research conducted by two wo men researchers: Kirin Narayan and Ragini Deshpande. The songs from Kangra are those recorded and collected by Kirin Narayan, who has worked in Kangra, studying women’s songs and stories for many years. The selection presented here is from 1990 to 1991. Ragini Deshpande recorded and collected women’s songs in Chamoli, Garhwal, from 1981 to 1989. As Sangita Devi says quoted by Kiri Narayan, “Everyone can sing, but only when you know pain can you understand the song.”

The genre Lý is a common performance genre across all three regions of the country, although it could be the most popular in the Southern region. Pétrus Ky, a renowned Vietnamese scholar, once mentioned the saying “Southern region has lý, Huế region has hò, Northern region has thơ.” (Nam lý Huế hò Bắc thơ) as it points out how lý is a specialty of the Southern locals. In reality, lý not only has its mainstream popularity but also achieved a high level of craft and essence in traditional culture and professional life of the Southern region.\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 songs (Lý) is like a river that flows with affection, where it carries the messages of the elders of Nam Bộ. Lý has the capacity to exist independently, express through it's performance nature. We can get to observe lý when it comes to themes about the many faces and complexities of life. It's like a reflective mirror on all things, events, ideas, and affections that come from humans, from the birds, the trees, the flowers, the river, the ferry, the bridge, the moon,...Every visual images and invisible sentiments are inhibited within those songs and lyrics.\n\nResearch by Mr. Le Hai Dang\nTranslated by Ms. Ha Hoang Minh Trang

Our Cultural Expressions: Indigenous Sounds of Fiji home\n(2017 Fiji-ICHCAP Digitization Project of ICH-related Analogue Audiovisual Materials)\n\nSince its foundation in 1904 as a national museum, the Fiji Museum has safeguarded and promoted various cultures and heritage of Pacific islands. The Fiji population consists mostly of iTaukei (native Fijians), Fijians of Indian descent, and Rotumans. The Fiji Museum has collected and shared tangible and intangible cultural heritage of such various ethnic groups through various methods to widely promote Fiji’s cultural heritage.\n\nIn 2017, ICHCAP carried out the Digitization Project of ICH-related Analogue Materials in cooperation with the Fiji Museum, which resulted in the digitization of five hundred hours of analogue materials. Based on this, ICHCAP has published an audiovisual collection, titled “Our Cultural Expressions: Indigenous Sounds of Fiji”, which contains selected digitized materials that well represent Fiji’s traditions. The Fiji Museum not just contributed to the digitization of analogue materials, but also supported the production of the collection to help more people discover the precious materials.\n\nThe Fijian collection consists of nine CDs and one DVD. The collection lists eighty tracks of chants, children’s songs, dance music, hymns, and folk songs of everyday life of Fijians that were recorded in the 1970s. The collection also features a video on mat weaving that was recorded in 1997. The video introduces mat weaving, which is considered an important element in the culture and life of Fijians, and its social and cultural significance. The collection is expected to be widely utilized in ICH-related research and also in education and transmission of the knowledge at schools.\n\nThe digitization project is meaningful in that it has restored analogue materials in Fiji, which were at risk of severe damage, to enhance academic values and raise public awareness of the materials. ICHCAP will continue its efforts to identify valuable materials in the Asia-Pacific region and provide a better access to ICH information through related projects.

The Archives and Research Centre for Ethnomusicology (ARCE) is a non-governmental organization established in 1982, with the aim of creating an integrated archive in India where recordings of Indian music and performance held in archives around the world could be made available through centralized mechanism. Today ARCE houses more than 25,000 hours of audiovisual recordings, including unique materials from all over India, ranging from the classical music genres to oral narratives.\n\nIn 2016, ICHCAP supported the ARCE in digitizing around five hundred hours of analogue recordings through the Digitization Project of ICH-related Analogue Audiovisual Materials. Some of materials representative of Indian traditions were chosen and reproduced as Music, Songs and Stories: Archival Selection from India, so they can be enjoyed by more people.\n\nThe Indian collection consists of nine CDs that feature audio materials recorded between the 1930s and the 1990s. The CDs list seventy tracks, including songs of everyday life, oral epics, and tribal communities. The first and second CDs, in particular, feature tracks recorded by Arnold Adrian Bake (1899-1963), a Dutch folk musician. He recorded lullabies, work songs, and sounds of rituals and everyday life while he was traveling around India in the 1930s. Lullabies, work songs, and sounds of rituals and everyday life that he recorded while he was traveling around India in the 1930s are well presented here.\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 Indian ICH.

ICHCAP, together with the Digital Heritage Lab, Graduate School of Culture Technology, Korea Advanced Institute of Science and Technology, organized an international seminar entitle “Protecting the Past for the Future: Digital Documentation as One of the Imperative Tools for Safeguarding of Cultural Heritage,” 20 July 2019.\n\nThe seminar consisted of three sessions: the first covered the archiving and visualization of intangible cultural heritage; the second focused on digital documentation methods for tangible cultural heritage; and the third discussed the challenges faced by Korea in establishing cultural heritage-related digital data.

Lialiaci is a publication of the iTaukei Institute of Language and Culture, Ministry of iTaukei Affairs. \nLialiaci means to ponder or reflect upon deeply. \nThat is the intent of these articles and perspectives on culture. \n\nThe publication has 3 articles:\n1. Bulu, The Spirit World by Anasa Tawake\n\nThis brief research will try to explain Bulu or the iTaukei concept of the spirit world.\nIt is important to define Bulu or the spirit world because it can be a foundation to which our beliefs are derived from. It is understood that our culture is ‘fixated on Bulu’ (Sekove Bigitibau). If this is so, then our culture, customs and ethos are focused towards the spirit world known as Bulu. Prior to Christianity, who’s to say that the beliefs of our ancestors were inaccurate? It is a common belief that Christianity was the best thing to happen to our vanua. On the contrary, Christianity brought about the demonization of iTaukei belief system. At the offset, the missionaries knew that there was an existing belief system unfortunately they chose to disregard this and not use it as a foundation for Christian faith.\n\n2.The Sunken island by Inoki Kaloumaira:\nA few islands in Fiji and the Pacific are said to have submerged in the last hundred to thousand years ago. The island of Vuniivilevu is believed to have submerged in the year AD1200 in the Motoriki waters, Lomaiviti (2005). It is one of the islands that is regarded to have been inhabited first before other settlers arrived. Early migrants were said to be tall, muscular and tough and this could be proven with the skeleton that was found in Naturuku, Motoriki in 2002. What was also remarkable about this skeleton was the excellent state of preservation of the skull. It was of a female who would’ve been tall, muscular and tough and was believed to have lived in Motoriki around 800BC (2007). \n\n3. Ancient Sounds in Fiji by Ulaiasi Taoi:\nAncient sounds in Fiji is still echoed in traditional chant, traditional dances, polyphony, and sacred psalms. It is found to be unique from western sounds and sounds in many parts of the world. Most current Fijian music has adopted western sounds, this includes church hymns, folk songs, serenades, and also Tongan sounds which is practiced in serevakalau known as Polotu and also pesi (Lauan folksongs). Aporosa a traditional cartographer form Beqa stated that there was no Fijian alphabet, but instead was the practice of oral transmission through traditional dances. Lyrics, cartographer and sound were transmitted through vision (Bulivou, 1985). Once ancient sounds were not composed, it was inherently transmitted through the vanua as a gift, and intrinsically maintained its mana in the vanua livelihood. \n\n\n\n \n