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.

Turtle fishing in Fiji is prohibited by Government during their breading season which falls from 1st November to end of February. \nDuring turtle season, men of Qoma island fish for turtles from Tuesday to Friday for 2 - 3 weeks of the month. Turtle fishing will require a group of 3 to 4 men who will not return home until Friday afternoon unless there is a catch. \nThe trip will be commanded by the oldest person, and will cover considerable large geographical area, fully devoted to turtle fishing. Once the turtle is sighted, a variety of methods may then be used for its capture. \nDuring the day, turtle fishing is done at high tide when the fishermen make careful observations as they pole their punt near the reef or reef edge. Turtles can easily be distinguished from rocks deep down in the sea or can be sighted when they surface to breathe. \nOnce an identification is made, the net is quickly placed (viri) to block the likely escape path that the turtles will take out of the reef. The disturbance (samu), is then started close to the shore or the other side of the reef and continues as the party advances, attempting to drive the turtle towards the placed turtle nets. This type of fishing may continue from high tide to when it is completely dry with the occasional placing (viri) and retrieving (yavi) of nets consequent to the sighting of turtles.

Pyi Htaung flute was Kachin traditional instrument. This flute has been used for about 1000 years ago. Bamboo is used to make the joint of the Jeinpaw Pyi Htaung. Bamboo joint that grows from hill-side cultivation is chopped and dried. It is perforated by using drill. There are a total of 8 perforated holes including 6 finger holes, two vent holes for enunciation. The flute with no reed is called flute and the flute with reed is called whirling flute. It has to be blown from air holes and the finger holes are made for opening and closing to produce traditional melody. Pyi Htaung flute has to be played together with oboe, drum, gong and cymbal. It is played for all kinds of Manao house-warming ceremony, grating party and honorable ceremony. \nThe size of Instrument is below. \n-1 feet 7 inches in length\n-4 inches in Length tip bamboo joint from air hole\n-5.5 inches in Length air hole from finger hole \n-1 feet in Length of tip flute from vent hole\n-2.5 feet in gridth

▶ Play 3. A Pact for Peace A Journey to Kalinga\nThis episode was first aired on Filipino television on April 18, 1996. This episode has been modified from its original format.\n\nAn animal was offered in the context of the Kalinga cultural ritual.\nHistorically, the Kalinga is a mixed group (Calinga, Kalingga, Kalina’), but it is now considered as a more or less homogenous group in the province of Kalinga. Subgroups of the Kalinga may also be found in the adjoining provinces of Apayao, Abra, Ilocos Sur, and Cagayan. There is a small group of people in the province of Ifugao also called Kalinga but who are not related to the central Kalinga population. The core area of the group is in the drainage areas of the Chico River and its tributaries in northern Cordillera. One of the ways in which this culture has been subgrouped is as follows: Balbalan (northern), Lubuagan (southern), and Maducayan (eastern). Another suggested subgrouping is: (1) Giad’an Balbalasang, (2) Sumadel, (3) Lubuagan, (4) Nabayugan, (5) Ablig Saligsig, (6) Kalagua, and (7) Mangali Lubo. In addition, there is a little-known highly mobile group in the Kalakad-Tupac area in east Tanudan.\n\nThe members form a mixed group of people thought to be descendants of migrants into the area from the Cagayan Valley to the east and the province of Abra to the west. There is a marked difference between the northern and southern populations due to the introduction of wet rice terracing in the south from Bontoc. An eastern grouping caused by eographic circumscription is also recognized. The society is organized into endogamous groups stemming from budong (peace pact) alliances. Because of their dress and personal ornamentations, the Kalinga have been dubbed the “Peacocks of the North.” Two distinctive features are the octagonal house in southern Kalinga, and the peace pacts that they enter into to preserve relationships between neighboring groups. Settlement areas are denser in the south.\n\nAgriculture is also carried on in terraces, though on a smaller scale than the Ifugao and Bontoc, and field preparation is done with the use of draft animals. Rice is the principal crop. Swidden crops include beans, sweet potato, corn, sugar cane, and taro. Coffee is a popular cash crop. The Kalinga are also known for their pottery, baskets, and metal craft.\n\nAlthough in the past, peace pacts had been common among the numerous ethno-linguistic groups, the budong of the Kalinga has caught the country’s imagination. Warring groups enter peace-enhancing arrangements through an elaborate procedure and the holders of each party keep token symbols from the other holders. These symbols ensure that the communities adhere to the terms of the pagta, the rules dictated by the pact.

Pyi Htaung flute was Kachin traditional instrument. This flute has been used for about 1000 years ago. Bamboo is used to make the joint of the Jeinpaw Pyi Htaung. Bamboo joint that grows from hill-side cultivation is chopped and dried. It is perforated by using drill. There are a total of 8 perforated holes including 6 finger holes, two vent holes for enunciation. The flute with no reed is called flute and the flute with reed is called whirling flute. It has to be blown from air holes and the finger holes are made for opening and closing to produce traditional melody. Pyi Htaung flute has to be played together with oboe, drum, gong and cymbal. It is played for all kinds of Manao house-warming ceremony, grating party and honorable ceremony.\nThe size of Instrument is below.\n-1 feet 7 inches in length\n-4 inches in Length tip bamboo joint from air hole\n-5.5 inches in Length air hole from finger hole\n-1 feet in Length of tip flute from vent hole\n-2.5 feet in gridth

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.

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.

A na’at is a poem in praise of the Prophet. This is a Na’at in praise of Khwaja Moinuddin Chishti. \n\nLyrics: dehli toh dulhan bani aur dulha nizamuddin sare hind ke badshah Khwaja Moinuddin tu hind ke raja, maharaja me toh raj bhikaran, piya \nTranslation: “If Delhi is the bride, Nizamuddin (Auliya) is the bridegroom. But the emperor of Hind is Khwaja Moinuddin. You are the king and emperor of Hind. Then, oh beloved, I am the royal beggar.”

This is a Manqabat, a Qawwali poem in praise of great religious personages, especially Sufi saints. \n\nLyrics: Batufail-e-daman-e-Murtaza, main bataaun kyaa mujhe kyaa milaa Keh Ali mile to Nabi mile, jo Nabi mile to Khudaa milaa Tere naqsh-e-pa se qadam qadam, woh maqaam-e-sabr-o- raza milaa Kahin khak-e-ahl-e-junun mili, kahin khun-e-rang-e-wafaa milaa Tu amir ibn-e-amir hai, teraa faiz-e-azim hai Tere dar se jo bhi milaa mujhe, mere hausle se siwaa milaa Tu sharik-e-haal e butul hai, tu rafiq-e-al-e-Rasul hai Main-e-marifat kas-e-ashiqi, yeh to jam kis ko milaa milaa. \nTranslation: “How can I describe what I have gained through my attachment to Murtaza*! When I reached Ali, I reached the Prophet; when I reached the Prophet, I reached God. Following your example, step by step I have attained perseverance and submission. Somewhere, I encountered the traces of the ecstatic; somewhere, the blood in the color of faithfulness. You are a lord of lords; your beneficence is the greatest of all. The uncountable blessings I have received from your bounty have gone beyond my aspirations. You are joined with the daughter of the Prophet, you are close to the Prophet’s kin.You are the wine of cognition, the object of love; oh, to receive this goblet!” Meraj Ahmad Nizami, Bulbul-e-Chisht, normally known as Meraj is the most senior among the descendants of Tan Ras Khan, the famous nineteenth-century court singer. Nizami indicates his attachment to the saint Nizamuddin Auliya, while Bulbul-e-Chisht is his honorific title, conferred upon him by the late Khwaja Hasan Nizami, who was a famous Sufi sheikh. .

Benedictions\n\nMongolian well-wishing is a powerful expression of the miraculous capacity of words. It is one of the genres of Mongolian oral poetry that uses melodies. Briefly, benedictions (well-wishing) propitiate people’s future happiness and well-being through skilfully composed and recited poems. There are thousands of benedictions on various subjects. For instance there are benedictions recited while beating the sweat cloth of a saddle, while distilling milk vodka, while celebrating a birth, and while cutting an infant’s hair for the first time. Besides ancient benedictions, many contemporary benedictions are being kept at the ILL. These include benedictions for a new ger, weddings, a child’s first haircut, endowment practices, mare-milking ceremonies, foal-branding ceremonies, the People’s Revolution, and others for the military.

Folk Short Songs\n\nMongolian folk songs are divided in three different categories, such as long songs, short songs and the authors’ songs. Folk songs are shorter than other forms of expressions with average durations of one to five minutes, but there is a high volume of them. Thus, restoring, categorising, and digitising folk songs were the most time-consuming tasks compared to others. Within the framework of the project, just under forty-eight hours of songs were restored and digitised.

Sounds that Run in the Vast Grasslands of Mongolia_Oral Traditions and Performing Arts in Mongolia\n\nSince the early 1950s, the Institute of Language and Literature at the Academy of Science (ILL) has been sending survey teams one to three times a year to research and gather data on oral literature and local dialectics. These activities set the groundwork for officially establishing a new archive with written documents and magnetic audio tapes that could be used for research purposes and be maintained. Preserved on magnetic tapes are languages and dialects that have gone extinct, have lost their distinctiveness, or have been adsorbed into other languages or dialects.\n\nHowever, most of the magnetic tapes being kept at the ILL are more than sixty years old, and the expiration date on many tapes has already lapsed. Also, improper storage conditions have caused some tapes to dry out, cling to one another, or fracture. For these reason, it would be hard to transmit to the next generation. Accordingly, since 2008, efforts have been made towards restoring and digitizing superannuated magnetic tapes within the internal capability and capacity of the ILL. The lack of training, finance, and proper tools and technical equipment has, nevertheless, created several obstacles and the digitizing results have not been very successful.\n\nAt this crucial state, the ILL introduced a cooperative request to the Foundation for the Protection of Natural and Cultural Heritage (FPNCH), and the FPNCH proposed that ICHCAP continue the joint project and take measures for restoring and digitizing superannuated magnetic tapes and distributing and disseminating the data among the general public. According to the above decision, the FPNCH and ICHCAP implemented the Joint Cooperation Project of Safeguarding Intangible Cultural Heritage by Using Information Technology from October 2011 to April 2012.\n\nAs the first stage of the project, the Expert Meeting for Safeguarding ICH by Using Information Technology was held in the Republic of Korea to exchange information with experts for digitizing and restoring the analogue data. The experts of Mongolian National Public Radio, the ILL, and the FPNCH started the project after sharing restoration and digitization knowledge with the Munhwa Broadcasting Corporation (MBC) of Korea, the National Archives of Korea, and the Korea Film Council.\n\nAs the main outcome of the project, a total of 715 hours of superannuated magnetic tapes including epics, folk tales, tales accompanied by the morin khuur, traditional arts, khuumei, chor, long and short folksongs, and traditional customs were restored, digitized, and categorized. Among them, 128 audio clips were selected and reproduced in a ten-CD collection called Sounds from the Mongolian Grasslands. The collection also includes a twenty-page handbook in English or Korean. Through this project, the general public’s, involved organizations’, and domestic and international experts’ awareness about Mongolian ICH increased, and the archive and music contents of regional ICH were strengthened.

Audio and Video Materials Collected from the Onsite Survey in the Ferghana Valley_2012 Uzbekistan-ICHCAP Joint Cooperation Project of Producing Digital Contents on ICH\n\nThe glorious intangible cultural heritage (ICH) of Ferghana Valley encompassing the state of Ferghana, Andijion, and Namangan in Uzbekistan includes oral traditional, performing arts, traditional rites and festive events, and traditional crafts. However, this heritage is largely unknown to the public in the nation and abroad, and it is fading out even more rapidly due to the young generation’s lack of interest.\n\nSince 2011, the four Central Asian countries, including Uzbekistan, have been implementing a three-year project, Facilitating ICH Inventory-Making by Using Online Tools for ICH Safeguarding in the Central Asian Region as a Central Asia–ICHCAP cooperative project. In the framework of the project, the countries have collected ICH information and tried to build an online system for managing the collected information.\n\nIn Uzbekistan, the Republican Scientific and Methodological Centre of Folk Art, under the Ministry of Culture and Sports of the Republic of Uzbekistan, in collaboration with the National Commission of the Republic of Uzbekistan for UNESCO, implemented the three-year project. They collected information on ICH elements in the Ferghana Valley (Andijan, Namangan, and Ferghana regions), Zarafshan Oasis and Southern Uzbekistan (Jizzakh, Samarkand, Kashkadarya, and Surkhandarya regions), and the Republic of Karakalpakstan (Navoi, Bukhara, and Khoresm regions) through onsite surveys from 2012 to 2014.\n\nIn 2012 when the first onsite survey was concluded, Uzbekistan and ICHCAP selected representative materials among collected videos, audios, and photos on ICH elements and ICH bearers, and compiled the materials as a ten-CD/DVD collection. Also, booklets in English, Uzbek, and Korean were made to spread related information to a wider audience.\n\nFerghana Valley is also home to Tajikistan, Uighers, and Turkistan. In the other words, different traditions co-exist in the same place. ‘Katta Ashula’, which integrates arts, songs, music, and epics, is one Uzbek cultural heritage representing the identities of the diverse people live in the valley\n\nThe collection could preserve the disappeared and disconnected ICH and encourage increased mutual understanding and communication by spreading the information widely from the experts to the people.

The early history of the Nagas is shrouded in obscurity and many theories abound of their origin  and  migration.  How  and  when  they  came  to  settle  in  the  north‐eastern  region  of India is an unsettled question. \nSeveral  traditions  exist  within  the  multi‐ethnic  Naga  communities  on  their  origins. \nAccording to the oral traditions passed down through songs, folklore and word of mouth the Ao emerged from six stones at Long‐terok, which exists to this day near Chungliyimti, the first legendry settlement of the Ao. ‘Long’ meaning stone and ‘Terok’ six, refers to the six stones from which emerged three pairs of male and female progenitors whom the Ao claim  to  be  their  ancestors.  The  Ao  is  distinguished  with  two  phratries  –Chongli  and Mongsen. The Chongli claim  that the  three males and  females who emerged at Longtrok were Tongpok and his sister Lendina, Longpok with his sister Yongmenala and Longjakrep with  his  sister  Elongshe.  They  were  the  first  human  beings  who  emerged  at  Longtrok. \nEach  male  member  along  with  his  sister  formed  the  three  phratries  of  the  Chongli. \nTongpok founded the Imsong‐Pongen clan, Longpok the Longkumer clan and Longjakrep with  his  sister  founded  the  Jamir  clan  respectively.  The  three  siblings  intermarried  and through  these  marriages,  the  Ao  clans  came  into  existence  and  a  well‐  knitted  clan exogamy marriage evolved that is followed to this day. 

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 11 is 'ICH AND WEAVING WITH BARK AND PLANTS'.