ichLinks

Traditions of Pencak Silat
Although better known worldwide as a type of martial arts, Pencak Silat is actually an Indonesian tradition that has been transmitted over many generations. In addition to its sporting aspect, the Pencak Silat tradition also encompasses the aspects of mental-spiritual, self-defense, and art. The term Pencak Silat is formed from two words, which are pencak and silat. The term "pencak" is better known in Java, while the term "silat" or "silek" is better known in West Sumatra, to describe a group of martial arts which have many similarities. In addition to using local terms, each region has their own move, style, accompaniment music, and unique supporting equipment. The moves and styles in Pencak Silat are strongly influenced by various elements of art. These moves and styles are a unity of body movement (wiraga), movement feeling (wirasa), and movement fit to the accompaniment music (wirama). The supporting equipment for Pencak Silat includes costumes, music instruments, and traditional weapons. Pencak Silat practitioners are taught to maintain their relationship with God, human beings, and nature. These practitioners are also trained in various techniques to deal with attacks or other dangerous situations based on principles to protect him or herself as well as others, avoid harming the offender, and build comradeships. Pencak Silat is often performed during various ritual ceremonies and celebrations. Men and women of all ages, as well as the disabled, can all practice Pencak Silat. They usually will learn in Pencak Silat schools or academic schools from kindergarten to college.

#self-defense #martial arts #sports #physical training #spiritual training

Indonesia 2019

Kumbh Mela
Kumbh Mela (the festival of the sacred Pitcher), is the largest peaceful congregation of pilgrims where people bathe or take a dip in a sacred river. Held at Allahabad, Haridwar, Ujjain and Nasik every four years by rotation, the Kumbh at Prayag/Allahabad is the most significant. Ardha ("Half") Kumbh Mela is held at only two places, Haridwar and Allahabad, every sixth year. It is held on the banks of the rivers - Ganga in Prayag, Saraswati in Haridwar, Godavari in Nashik and Shipra in Ujjain. A great fair is held on these occasions on the banks of the rivers. Devout believe that by bathing in the Ganges one is freed from their sins liberating them from the cycle of birth and death. A unique facet is that millions of people reach the place without any invitation. Mythology says the gods and the demons fought for the pot with the nectar of immortality. Lord Vishnu, disguising himself as an enchantress (Mohini), seized the nectar. While fleeing from the evil ones, Lord Vishnu passed the nectar on to his winged mount, Garuda. In the ensuing struggle, a few drops of the precious nectar fell on Allahabad, Nasik, Haridwar and Ujjain. Since then, the Kumbh Mela has been held in these places. The astrological sequence of the stars are the basis for the Kumbh locations. As Jupiter enters in Aquarius and Sun enters Aries the Kumbh is held at Haridwar, Jupiter enters Aries and Sun and Moon in Capricorn at Prayag and so on.

India 2017

Radif of Iranian music
The Radif is the traditional model repertory of Iranian classical music. It comprises more than 250 melodic modules, named gushes, arranged in special orders into seven primary and five (or six) secondary collections on the basis of their modal and melodic affinities. The primary and secondary collections are respectively called the dastgāh and the āvāz. Each dastgāh/āvāz is a collection of melodic models arranged in a multi-modal cycle, i.e. embracing several maqāms, beginning and ending on the same mode while modulating to a number of other modes. The structure of each cycle can be analyzed in terms of two layers. The underlying, fundamental, layer provides the modal infrastructure upon which a variety of melodic and/or rhythmic motifs are set. The seven dastgāhs are shūr, segāh, chahārgāh, māhūr, homāyūn, navā and rāstpanjgāh. The āvāzes are considered as derivatives of two dastgāhs. The satellites of shūr are abū‘atā, dashti, bayāt-e tork, afshāri (and bayāt-e kord), while āvāz-e bayāt-e esfahān is regarded as the satellite of dastgāh-e homāyūn. Each gushe has also a specific name which refers to its function in the cycle, a technical feature, an area, an ethnic group, a mood, a poetic genre, or a musician, as well as other descriptive or expressive titles. Some nominal and structural counterparts of the constituent parts of the contemporary radif can be found in the musical systems of the ancient and medieval Persia. Although the radif per se was the product of the Qajar epoch (1785-1925), the history of the dastgāh, as the main component of the radif, dates back to the mid-Safavid period (1501-1722), when the old modes or maqāms were gradually transformed into multi-modal cycles in terms of the main shadds (chains) and later dastgāhs (systems). Indeed, the radif can be regarded as the reformulation of an older musical system, which dates back to earlier centuries. There are various versions of the radif as interpreted and performed by prestigious masters of Persian music. There are two main types of the radif, i.e. vocal and instrumental versions. The latter is, in turn, translated into the technical language of various instruments, slightly differing in performance techniques while retaining the same structural foundations. The radif is sung and also performed on the traditional instruments of Persian classical music: tār (double-chested skinned long-necked lute), setār (long-necked lute), santur (hammered dulcimer), kamānche (fiddle) and ney (reed pipe). It is also performed on other musical instruments such as the ‘ud, qānun, and violin. The radif, as a model repertory, serves as a point of departure for actual musical performances in terms of improvisation and composition in Persian classical music. The main performance practice of Iranian traditional music unfolds through improvisation, which is the spontaneous creation of music according the mood of the performer and in response to the audience, inspired by the spatial and temporal context of performance. All performances of Persian classical music rely on the rich treasury of melodic modes of the radif.

Iran 2009

Traditional skills of carpet weaving in Kashan
The carpets woven in the city of Kashan can be defined as follows. Spreadable hand-woven materials consisting of a basic structure of strings made of cotton or silk interwoven in millimeter scales known as warp (Tar or Toon) on an erected framework known as ‘Dar’, while by means of wool or silk strings, and based on a colored design, appropriate knotting in harmony with the delicacy of the carpet are created on the surface. In the weaving style of Kashan, after each row of knots, cotton strings are extended two times from within the warps in horizontal direction known as ‘woofs’. Woofs are divided in two categories in terms of thickness: thick woof or under-woof is almost of the same thickness of warps, while thin woof or top-woof is as thick as reel strings. These woofs are pressed on woven knots by means of combs and make the carpet more strong and delicate. This style, known as Farsi weaving has a background of four hundred years in Kashan which is the pioneer of this style. The skills and elements involved in the process of production of these hand-woven carpets can be divided in certain categories: Carpeting Tools: 1- Weaving frame: is a wooden or metal framework consisting of two vertical columns and two horizontal beams. In addition, certain wooden accessories are used to reinforce the frame (wedges), while in metal frames, knots and jacks are also used. In order to control and move the strings in the course of weaving, two thin layers of woods are used. 2- Comb: is used for pressing the woofs after each row of weaving to make the carpet stronger and more delicate. 3- Stick: it is a metal belt with the width of 2 centimeters and length of 60 centimeters used to lead the woofs from among the warps. 4- Scissors: for cutting the tips of the woven strings after a number of rows as well as for leveling the surface of the carpet. 5- Bench: as a seat for the weaver, made of wood or metal. Carpeting Materials: 1- Warp: prepared multi-layered cotton or silk strings in proportion to delicacy of the carpet and required by the design will establish the basic structure of the carpet. In Kashan style, the warps are drawn on the ground and mantles on the frame. 2- Khameh: woolen two-layered colored strings in various sizes for knotting to warps in 90 degrees angle which serve as the thickness of carpet in appropriate sizes. 3- Woofs: cotton strings in two thicknesses: thick woofs equal in thickness with the warps, and thin woofs as thick as ordinary reel strings which are led through the warps after each row of weaving and is pressed with comb which strengthens the carpet. In full-silk carpets, silk woofs are applied. Design: in order to prepare the design of the carpet, which is the most artistic activity involved in carpeting, certain rules are followed, the most significant of which can be summarized as follows: A) Drawing is the general form and the first impression of the carpet which makes the basic design of the carpet in the first glance. The procedure that is followed in Kashan is as follows: 1- Lachak-Toranj design: is this design limited by a background cadre and consists of a central oval shape known as Toranj and rectangular surrounding shapes known as Lachak. Each Toranj has four surrounding Lachaks. Sometimes, the Toranj is in circular form, known as Shemeh. Lachaks are normally in harmony with Toranj. 2- Toranjafshan Design: the design consists merely of a Toranj in the middle covered with symmetrical flower and leaf designs, without Lachak. If the surface is without flowers and leaves and other forms, the design is known as simple Lachak-Toranj. 3- Lachakafshan: There is no Toranj in the design, only four Lachaks around. The remaining portion of the design is covered with flowers, leaves, and other symmetrical shapes. 4- Mehrabi Design: The surface is normally without Toranj. Only to Lachaks are located on the top corner, with ornamental religious designs. The surface is simple with an urn or columns around. 5- Overall design: a basic design theme is repeated all over the surface. Single forms such as Botteh-Jegheh, scattered bouquets, frames, flowers, etc are repeated over the surface. 6- Koomeh Design: short scattered trees together with birds and animals. B) Design is the combination of drawings, paintings, flowers, leaves, branches, animals and other forms which enliven the basic drawings by applying colors, each with its respective artistic identity inspired by nature, buildings, historical events, movements of living animals, and background mentalities of the designer and painter. Dyeing: Colors and dyeing materials: natural colors are more popular in Kashan, such as Ronas, walnut skin, pomegranate skin, vine leaves, etc. except for Ronas, other materials are among the waste natural materials. The masters of dyeing create very stable and beautiful color mixtures by using various types of natural pigments. Farsi weaving style also known as asymmetrical knotting is applied with exemplary delicacy in Kashan so that the back side of the carpet is made with equal longitudinal and latitudinal knots.

Iran 2010

Killimangalam Weaving Cooperative Society
The Kurava community migrated from Tamil Nadu and settled along the banks of the Nila River where they followed mat weaving traditions for many generations. Unfortunately, because of low financial returns and scarce raw materials, the community to lost interest in traditional weaving, leaving only one practitioner, Mr. U. Chami, who took the tradition forward for many years through the Killimangalam Weaving Cooperative Society. However, due to ill health at the age of 72, Chami left weaving behind. But before retiring, he taught traditional weaving skills to a non-native Kurava—Mrs. P. Prabhavathi. Today, Prabhavathi still holds Chami in high regard for his initiatives to train interested people, even those from outside the community. This willingness to train others laid foundation for the craft’s survival. For his efforts, Chami was recognized with the Master Craftsman Award by the Textile Ministry of India in 1992.

India

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

Thailand

Mazuki Bin Tambi
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.

Malaysia

Fiji Museum
The Fiji Museum is a museum in Suva, Fiji located in the capital city's botanical gardens, Thurston Gardens. The Museum holds a remarkable collection, which includes archaeological material dating back 3,700 years and cultural objects representing both Fiji’s indigenous inhabitants and the other communities that have settled in the island group over the past 200 years. The Museum is a statutory body governed by the Fiji Museum Act and the Preservation of Objects of Archaeological and Palaeontological Interest Act.\nIn 1908 the Fijian Society was formed with the specific aim of researching and preserving the country’s history and culture. The formation of a museum was included in this aim. In 1910 the government approved an annual grant of £25 to appoint a collection caretaker. With the passing of the Fiji Museum Ordinance in 1929, the museum was formally inaugurated as a Government Statutory Body with a Board of Trustees.\nThe collection remained on display in the Town Hall until 1919 when a substantial part of the hall was destroyed by fire. The collection was moved to a variety of venues until the government was persuaded by the Trustees to build a National Museum.\nThe current museum was opened in 1955 by the Governor of Fiji, Sir Ronald Garvey. This building was used to house the displays, reserve collection and provide storage. Today the building has two adjoining sections, the first constructed in 1972 and the second in 1978. Together, these buildings provide a history gallery, masi gallery, art gallery, Indo-Fijian gallery, temporary exhibition space, store rooms and gift shop. The archives, photographic studio, editing suite, library and administration offices are located in what was the Nawela Hostel for women, adjacent to the main museum building.

Fiji

INDONESIAN HERITAGE CITIES NETWORK
The Indonesian Heritage Network—Jaringan Kota Pusaka Indonesia (JKPI)—is a good example of networking among local governments for safeguarding ICH.\nThe Indonesian Heritage Cities Network is an inter-local government organization (not an NGO) that coordinates on a national level among cities and districts possessing varieties of natural and/or cultural heritage (tangible and intangible). JKPI aims to jointly safeguard natural and cultural heritage including ICH. JKPI was declared on 25 October 2008 in Surakarta City by twelve cities. One of the mayors who declared the establishment of JKPI was Ir. Joko Widodo, then Mayor of Surakarta and host of the meeting, (presently 7th President of the Republic of Indonesia.) As of the seventh National Working Meeting Karangasem, Bali in June 2019, JKPI has seventy member cities and districts. The objectives of JKPI are:n• To develop collaboration amongst cities (and districts) having important natural and cultural heritagen• To develop collaboration for safeguarding heritage with stakeholdersn• To promote a role of communities in safeguarding heritage and its positive development in social lifen• To inventory the wealth of the heritage of the member cities/districts of JKPIn• To develop an understanding of the diverse nature and culture to strengthen the Unified State of the Republic of Indonesian• To be used as a vehicle for promoting existing heritage for JKPI member cities/districts3nJKPI is a non-profit and independent organization, and is not intended to advance the interests of, or be affiliated with, any group or political party.

Indonesia

Doyrabazm in Shughnon

Tajikistan

Weaving_cloth_Daknong_province

Viet Nam

Session1: Introduction: Education-related indicators for monitoring the Convention for the Safeguarding of the Intangible Cultural Heritage and their relationship with SDG 4.7 reporting
UNESCO organized, in collaboration with ICHCAP an intersectoral online expert meeting on ‘Education-related indicators in the Overall results framework (ORF) for the Convention for the Safeguarding of the Intangible Cultural Heritage and their relationship with SDG 4. This online meeting held in three sessions in December 2020, generated important knowledge on the interface between living heritage and education, identified examples to illustrate the relationship, and provided advice for future monitoring and reporting in these related fields.\nThe public webinar aims to raise awareness for the benefits and challenges of monitoring living heritage in education by sharing the results of the above-mentioned intersectoral expert meeting. It will include a brief presentation on the education-related indicators of the ORF and how they can inform the monitoring system of SDG 4. Speakers will be invited to share their experiences and discuss the benefits of this intersectoral monitoring to inspire relevant stakeholders from the education and culture fields to undertake their own initiatives in this innovative intersectoral field. "he intersectoral expert meeting that was held in three sessions in December 2020 was a platform for international experts in the field of culture and education from across the world to deepen the understanding of the education-related indicators and demonstrate more clearly the linkages this has with the reporting on the progress towards quality education for sustainable development and peace. It generated important knowledge on the interface between living heritage and education, identified examples to illustrate this relationship and provided advice for future monitoring and reporting in these related fields. The webinar welcomes all governmental and non-governmental stakeholders interested in culture and education to join this debate on monitoring living heritage in education.

South Korea 2021-01-26

Babaran Pusaka
That morning, Bangkit Sholahudin or known as Bangkit was opening a collection of several keris belonging to the previous hamlet’s leader. Every leadership period, the Head of Sawit Hamlet across generations always has a “tosan aji” as a form of representation of the depiction of every situation and condition. Considering that the keris has become a familiar object with the lives of Sawit residents, Bangkit as the current Head of Sawit hamlet tried to initiate the maintenance and preservation of the keris which has been on hiatus for a long time. Towards the afternoon, Bangkit Sholahudin met Mbah Jaman, one of the residents who had a keris but was not properly cared for. Finding these problems, Bangkit Sholahudin invited several residents to initiate a procession of “jamasan” within the scope of Sawit Hamlet in cooperation with the non-governmental organizations.

#indonesia #yogyakarta #keris #craftsmanship

Indonesia 2024

Babaran Pusaka
That morning, Bangkit Sholahudin or known as Bangkit was opening a collection of several keris belonging to the previous hamlet’s leader. Every leadership period, the Head of Sawit Hamlet across generations always has a “tosan aji” as a form of representation of the depiction of every situation and condition. Considering that the keris has become a familiar object with the lives of Sawit residents, Bangkit as the current Head of Sawit hamlet tried to initiate the maintenance and preservation of the keris which has been on hiatus for a long time. Towards the afternoon, Bangkit Sholahudin met Mbah Jaman, one of the residents who had a keris but was not properly cared for. Finding these problems, Bangkit Sholahudin invited several residents to initiate a procession of “jamasan” within the scope of Sawit Hamlet in cooperation with the non-governmental organizations.

#indonesia #yogyakarta #keris #craftsmanship

Indonesia 2024

ICH Video Production in the Asia-Pacific Region : Central Asia (Living Heritage : Wisdom of Life)
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

#silver #jewelry #traditional craftsmanship #craftmanship #handicrafts #craft workers

Kyrgyzstan,Kazakhstan,Mongolia,Tajikistan,Uzbekistan 2017

3rd APHEN-ICH International Seminar Diversity and Distinctiveness: Looking into Shared ICH in the Asia-Pacific
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.

South Korea 2021

Melodies from Uzbekistan
In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

Uzbekistan 2015

Precious Grops from Nepals Fountain of Folk Music
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.

Nepal 2016

Surveying Tertiary Education Institutions for Intangible Cultural Heritage Network in the Asia-Pacific Region
Universities are essential vectors to build a skilled workforce to implement and support ICH safeguarding activities in a sustainable and locally-appropriate manner. Whilst there has been an increase in post-graduate heritage education in the Asia-Pacific Region in the past decade, few programmes focus on ICH.\n\nThis survey generates an understanding of current activities and needs of tertiary education actors in the Asia-Pacific Region. It also explores the feasibility of establishing a network of universities to deepen reflection on ICH in the academic world.

South Korea 2017

ICH Courier Vol.18 TRADITIONAL FERMENTED FOOD
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 18 is 'TRADITIONAL FERMENTED FOOD'.

South Korea 2013

Smong: A Traditional Simeuleu Island Mitigation to Face Tsunami

The devastating 9.1-magnitude earthquake that occurred December 26, 2004 in the Indian Ocean triggered a tsunami that rose up to 30 meters, devastating many areas in Asia and Africa (www.bmkg.go.id). It was the third-biggest earthquake ever registered on a seismograph and at eight-to-ten minutes had the longest duration in history. More than 280,000 people died in 14 different countries.\n\nAceh Province in Indonesia, where the epicenter was located, was worst affected by this disaster. There was no early warning system and the disaster risk management was poor. People in Aceh Province had no adequate knowledge of tsunamis until then. Thousands of buildings in Aceh were demolished and more than 170,000 people were affected, while the actual epicenter location, Simeuleu Island, had only 7 victims out of a total of 78,000 people (www.bmkg.go.id).\n\nIt is said that Smong (meaning chaos during natural disaster in the Devayan language), communicated through poem and song, protected the people of Simeulue Island. Smong is an early warning system, featuring disaster mitigation ideas that were generally told as a lullaby for children and sung at wedding parties (10.1016/j.proenv.2014.03.070). It consists of five verses, as follows:\n\nEnggelan mon sao curito (Please listen to this story)\nInang maso semonan (One day in the past)\nManoknop sao fano (A village was sinking)\nUwi lah da sesewan (That’s what has been told)\n\nUnen ne alek linon (Starting with earthquakes)\nFesang bakat ne mali (Followed by a giant wave)\nManoknop sao hampong (The whole country was sinking)\nTibo-tibo maawi (Immediately)\n\nAnga linon ne mali (If the strong earthquake)\nUwek suruik sahuli (Followed by the lowering of seawater)\nMaheya mihawali (Please find in a hurry)\nFano me senga tenggi (A higher place)\n\nEde Smong kahanne (This is called Smong)\nTuriang da nenekta (A story of our ancestors)\nMiredem teher ere (Please always remember)\nPesan navi-navi da (The message and instruction)\n\nSmong dumek-dumekmo (Smong is your bath)\nLinon uwak-uwakmo (Earthquake is your swing bed)\nElaik keudang-kedangmo (Thunderstorm is your music)\nKilek suluih-suluihmo (Thunderlight is your lamp)\n\nThe lyrics have two meanings — denotation and connotation. The first to fourth stanzas are denotation while the rest is connotation. This story was reiterated in each generation as it held a significant meaning to share the knowledge to all Simeulueans in order to protect themselves from the tsunami. The second stanza explains the natural signs and earthquake before the village disappears. It suggests people find higher ground to protect themselves from the disaster that would drown the land. The third stanza explains that it was called Smong and that the story should be evoked and passed on to the succeeding generations.\n\nThe last stanza describes the Smong as a natural entity that should be taken in a positive way. It suggests accepting it and keeping yourselves safe with it. The response towards it must be taken prudently.\n\nIn this way, the Simeuluean people communicated about natural disasters through folklore before the terminology of the tsunami was discovered. It not only saved the lives of many people but also helped people to take decisions rationally during times of disaster. \n\nPhoto : The devastating 9.1-magnitude earthquake that occurred December 26, 2004 in the Indian Ocean ⓒ shutterstock

Year2019

NationIndonesia

History of Sawahlunto Mining Town: World Heritage Site

History of Sawahlunto Mining Town\nBased on the Van Lien report released in 1917, in the interior of West Sumatra along the Ombilin River at Sawahlunto, the Sijantang and Pamuatan people had collected coal that appeared on the surface on the river banks to use for cooking and had even sold the mineral to coastal areas along the course of the river, long before the Dutch came and conducted research on energy sources for the industrial revolution.\n\nThis activity of the people surely became a reference and the first information for the Dutch geologists to come and conduct research on the coal reserves of Ranah Minang (West Sumatra). C. De Groot Van Embden conducted preliminary research beginning in 1858 and continuing for nine years, carried on by the geologist W.H. De Greve, who finally discovered coal in the Ombilling basin in 1868 and reported the results of his research to the Dutch Government in 1870. Subsequent research by R.D.M. Verbeek succeeded in detailing the results of the discovery by revealing the quality of the coal, which was as high as 7,000 calories with an estimated reserve of 200 million tons, distributed around the areas of Parambahan, Sigalut, Lurah Gadang, Sungai Durian, and Lembah Segar.\n\nDevelopment of an Integrated Megaproject\nThe potency of energy sources for the industrial revolution found in Sawahlunto were hotly discussed in the Dutch parliament. The officials thought hard how the black coal reserves could be extracted and used for expansion of the area controlled by the Dutch colonialists in Southeast Asia. After debate and more research over the next twenty years, the Dutch government finally designed an integrated project called “Three in One”. The project focused on (1) developing mining infrastructure and then of a mining town at Sawahlunto; (2) developing a rail network, beginning from Pulau Aer Station in Padang, and then in stages up to Sawahlunto; (3) developing Emmahaven Port, which included coal bunker facilities, from where the coal would be shipped to Europe.\n\nWe can still see this “Three in One” project, first in the form of the coal mining site and the mining town of Sawahlunto, including the open mining area and the deep mining network and facilities for processing the coal, with supporting facilities of the town built at Sawahlunto. Second, the railway infrastructure and technical facilities including a rack and pinion railway system in the highlands with bridges and tunnels connecting the mining area with the port over 155 kilometers through the mountains. Third, the coal bunker facilities at Emmahaven Port located on the western coast of Sumatra. This was for storing the coal before it was shipped out by sea.\n\nSawahlunto Mining Town at This Moment\nFor over a century, the product of mining in Sawahlunto contributed to moving the wheels of development of infrastructure in various areas of Indonesia, especially in West Sumatra. Besides this, the technical achievement in deep mining and integrated infrastructure development provided a model for development of mining activities in various regions of the world. Although the mining activities no longer go on, yet the results of the development that took place in the form of heritage buildings and experience (in the form of cultural traditions) gained can still be felt by the people even now. Sawahlunto is proof of the effect of the industrial revolution that had taken place. The mining has ceased. Yet the footprints of the mining town are safeguarded as an attraction of West Sumatra.\n\nPhoto 1 : Office of the old coal mine at Sawahlunto, now part of the World Heritage Site © Deri Asta\nPhoto 2 : Coal processing facilities from the old mine at Sawalunto, now an industrial cultural heritage site © Deri Asta\nPhoto 3 : Old Photo of Batang Ombilin Ranuh River at Sawahlunto © Deri Asta

Year2021

NationIndonesia

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