Dr. Ming Chee Ang is a general Manager of George Town World Heritage Incorporated and a Facilitator of UNESCO Global Network of Facilitators on Intangible Cultural Heritage. Born and raised in the inner city of George Town, she carries her duties with much passion and fervour, incorporating innovative ideas and holistic management on World Heritage Site for the benefit of the local people. Specialized in resource mobilization, policy making, project management and risk assessment, she has incorporated built conservation, with elements of disaster risk reduction and intangible cultural heritage safeguarding to create a sustainable heritage city for the people who live in, work in and use George Town. Ang also showcases active participation in leading projects, programs and panels, as Executive Producer for George Town Heritage Celebrations, Chairperson for Sia Boey Archaeological Advisory Panel, Chairperson for Penang Public Arts Review Panel, Deputy Chairperson for Penang Island City Council’s Technical Review Panel, Committee for Guar Gepah Archaeological Advisory Panel, lead researcher for “Field Survey of the Intangible Cultural Heritage Safeguarding Efforts in the Asia-Pacific Region” and “Feasibility Studies on the Introduction of Rent Regulation Enactment”, as well as project manager for “Sia Boey Integrated Management Plan” and “Supporting Community-Based Management and Sustainable Tourism at Melaka and George Town”

Mr Mazuki Bin Tambi has been appointed as President of (MACPA) Since 2010 -2021 at the national level , In 2018 he become a Heritage and arts expert for the Department of National heritage Malaysia.\nCurrently he is a Board members of the Ministry of Tourism Arts and Culture Sarawak Malaysia. \nMazuki has been very much involved in artistic development in art and culture in Malaysia, especially on performing art,research,strategic planning for government of Sarawak.\nOn the international scene, he has been involved with (ichchap) Republic of Korea 2017-2021 on South east Asia video production (2017- 2018),Book Publication (2019-2021) . Produce Hang Tuah documentary for Asia Culture Centre Republic of Korea. ‘Memory of the World” catogery. \nHe representing Malaysia,for permenant membres \norganization with Qatar (2020) GPDNET network.

As one of the most complete surviving historic city centers with a multicultural living heritage on the Straits of Malacca, George Town was inscribed as a World Heritage Site by the UNESCO World Heritage Committee in 2008, together with Melaka. To manage, monitor, and promote the George Town World Heritage Site, George Town World Heritage Incorporated (gtwhi.com.my) was established in 2010 by the state government of Penang.\nGTWHI works closely with the council and community to overcome day-to-day challenges with regard to promoting sustainable tourism, revitalizing traditional trades, remodeling local market ecology, redefining the use of space, and driving residents back to the city center. We also accumulate baseline data through systematic and scientific research to develop mid- and long-term heritage conservation programs and policies. Our approaches are highly organic and community based, and we take serious commitments to sustain the coexistence of diversity, which is divided according to geographical area, linguistic groups, religious identity, and social status.

Arts-ED is a non-profit organisation based in Penang, Malaysia. It provides innovative communitybasednarts and culture education in rural and urban communities. Our programmes focus on thentheme of arts, culture, and heritage, utilising creative educational approaches that encouragenlearning around real issues.\nSince its inception in 1999, it has worked with over 15,000 young people in Penang. Thenorganisation is known for its creative and innovative approaches to education, developed over 19nyears of experience and through exchange and learning with organisations within Malaysia as wellnas regionally.

Also known as Bangsawan Opera, it is a type ofntraditional Malay opera or theatre.

Bharata Natyam is a type of Indian Classical Dance which combines elements of Britta (pure dance) and Nritya (dance expression). It takes many years to master the movements of hand gestures, legs and eyes. This dance originated from Tamil Nadu in the Southern part of India. Traditionally, this dance is presented by a solo female dancer, but is more commonly performed by a group of dancers these days. A full presentation of the dance shall consist of six stages: Alarippu, Jatiswaram, Sabdam, Varnam, Padam and Lerevela. Bharata Natyam is one of the oldest dances known to the Hindu society and it was choreographed based on Hindu religious elements and stories from ancient Sanskrit writings of Natyashastra. Dancers imitates the movements of flame to express the mystical manifestions of fire element in human body—a combination of the feminine and masculine elements.

Dondang Sayang is a Malay traditional music and song that is well-known in the State of Malacca and still practiced by four communities such as the Malay, Baba Nyonya, Chitty and Portuguese. The performances are accompanied by violin, rebana, gong and accordion and sing by two singers of the opposite sex, who sing in quatrains. It has received UNESCO’s recognition as a Representative List of The Intangible Cultural Heritage of Humanity on 29th November 2018.

Syair is a form of traditional Malay poetry that is made up of four-line stanzas or quatrains. The syair can be a narrative poem, a didactic poem, a poem used to convey ideas on religion or philosophy, or even one to describe a historical event.\n\nThe word syair is derived from the Arabic word shi’r, a term that covers all genres of Arabic/Islamic poetry. However, the Malay form which goes by the name syair is somewhat different and not modelled on Arabic poetry or on any of the genres of Perso-Arab poetry.\n\nThe earliest known record of syair is from the work of Hamzah Fansuri, a famous Malay poet in the 17th century.The most famous syair is a 1847 poem by Raja Pengiran Indera Mahkota Shahbandar: Syair Rakis. It is considered to be the passage to modern Malaysian literature.

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.

Southeast Asia ICH Video Documentary (Malaysia)\n\nThe environment surrounding intangible cultural heritage (ICH) is changing rapidly in the face of waves of rapid urbanization and globalization. In the face of such changes, documenting actual scenes of ICH in video form presents one of the most effective ways of identifying trends in ongoing developments and raising the profile of ICH. However, achieving this requires robust support and coordinated efforts due to the relative inadequacy of the conditions for producing such documentary material in the Asia-Pacific region.\n\nThe International Information and Networking Centre for Intangible Cultural Heritage in the Asia-Pacific Region under the auspices of UNESCO (ICHCAP) shines a light on the ICH of Asia-Pacific and introduces its value to the public through video projects depicting ICH. ICHCAP conducts joint projects with member states to portray real-life scenes of ICH alongside experts, communities, NGOs, and other stakeholders in various countries. As a result, it has produced fifty videos on the ICH of Central Asia through the phase-one joint project on Central Asia and an additional fifty videos through the phase-two video project on the ICH of Southeast Asia. These videos are being screened through broadcasting companies and at film festivals in each country, in addition to distribution via YouTube and other\nchannels.\n\nVideos represent the most accurate method of capturing ICH as it exists in the real world, as well as being effective tools for communicating with the public. ICHCAP will endeavor to continue vividly documenting the scenes of ICH that are hidden across the Asia-Pacific region with the aim of raising the profile of ICH elements as treasures of humanity and introducing them to the public.\n\nThis collection includes 10 ICH videos produced by Real Touch SDN Bhd in collaboration with ICHCAP.

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 2 is 'ICH AND LABOR'.

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 8 is 'ICH AND TRADITIONAL KNOWLEDGE AS AN OCCUPATIONAL LIVING.'