The Tharu people, who predominantly cover the east to west region of southern Nepal, have always worshiped nature and natural resources. These have been a significant part of their livelihood, contributing to their culture, economy, and ecology. Tharu women have age-old basket-making and weaving practices with vegetation and raw materials available in the area. The majority of these women are engaged in continuing this craftsmanship. While the history of basketry is not well documented, it is believed to have started from a primeval age, being an integral part of the community’s sustainability. Since there is no direct evidence on how these baskets have originated, we rely on mythological tales. One story tells us that a woman named Jasu taught a man, Ishu, how to irrigate the land during the human civilization. She also taught basket making and other forms of crafts, which is how it has been able to be passed down through generations.

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.

The art of traditional paper making in Bhutan stems from an age-old handicraft tradition whose history can be traced back to the eight century during the reign of Gyelpo Khikhar Rhathor in Bumthang?, used by monasteries for woodblock and manuscript and also for writing prayer books, says Mr. Gonpola , the only Desho paper manufacturer in Bumdeling, Tashiyangtse. It is said that Mr. Tsheten Dorji from Yangtse, Who was Dzongsungpa (Care taker) then, was trained at Bumthang. It is he who actually brought the idea of making Deysho paper to Tashiyangtse. Mr. Tsheten Dorji had trained Mr. Gonpola and a few other friends at Rigsum Gonpa in and around 1971.\n\nDaphne bholua is a deciduous and evergreen shrubs in the family Thymelaeaceae, native to Asia, Europe and North Africa. It grows at an altitude of 1700-3500m in the Himalayas and neighboring mountain ranges. It is found in pastures and grassy glades and reaches a height of about 2.5m, however some specimens reach 4m. Daphne bholua has leathery leaves and pink- white flowers with strong fragrance. In Bhutan it is used for making hand-made paper ‘deysho’. Another species of Daphne ‘Edgeworthia gardneri’ (Deykhar) is also used for making desho paper in some part of Bhutan. It is found commonly in southern part of the country.\n\nHowever in Bumdeling, Daphne bholua ‘Deynag’ is widely used for making Deysho paper. Daphne ‘Deynag’ can be abundantly found in places like Tarphel, Cheng, Longkhar, Sanyne, Ngalingmang, Phanteng.

The art of traditional paper making in Bhutan stems from an age-old handicraft tradition whose history can be traced back to the eight century during the reign of Gyelpo Khikhar Rhathor in Bumthang?, used by monasteries for woodblock and manuscript and also for writing prayer books, says Mr. Gonpola , the only Desho paper manufacturer in Bumdeling, Tashiyangtse. It is said that Mr. Tsheten Dorji from Yangtse, Who was Dzongsungpa (Care taker) then, was trained at Bumthang. It is he who actually brought the idea of making Deysho paper to Tashiyangtse. Mr. Tsheten Dorji had trained Mr. Gonpola and a few other friends at Rigsum Gonpa in and around 1971.\n\nDaphne bholua is a deciduous and evergreen shrubs in the family Thymelaeaceae, native to Asia, Europe and North Africa. It grows at an altitude of 1700-3500m in the Himalayas and neighboring mountain ranges. It is found in pastures and grassy glades and reaches a height of about 2.5m, however some specimens reach 4m. Daphne bholua has leathery leaves and pink- white flowers with strong fragrance. In Bhutan it is used for making hand-made paper ‘deysho’. Another species of Daphne ‘Edgeworthia gardneri’ (Deykhar) is also used for making desho paper in some part of Bhutan. It is found commonly in southern part of the country.\n\nHowever in Bumdeling, Daphne bholua ‘Deynag’ is widely used for making Deysho paper. Daphne ‘Deynag’ can be abundantly found in places like Tarphel, Cheng, Longkhar, Sanyne, Ngalingmang, Phanteng.

Mongols process the animal raw skin and hide (raw skin of cattle). Through long undergone observance and experiments, they were able to elaborate and develop the indigenous traditional technique to process the skin and hide to produce various leather crafts and products. The skin and hide are processed by salting, stripping off, tanning or smoking. For instance, the processed materials from sheep skin can be used to make a deel (traditional garment). The processed materials from hide can be used to produce necessities and equipments such as airag-skin, hide-flask or animal harnesses such as bridle, halter, lasso, tri-hobble, tethering-line, girth and strap of a saddle, and so on. Nowadays, the leather products and crafts made of animal skin and hide are considered as valuable asset in demand for tourist attractions.

Gong Raeng is a musical instrument of the Bunoong indigenous people living in Mondulkiri province. This instrument consists of a bamboo or bamboo knot with a diameter of about 4 to 6 cm and a length of between 50 and 70 cm, connected to the bottom of a gourd, and has 9 strings. Gong Raeng has been called by the Bunoong, Tampoun, Jarai people, while the Kreung people call this instrument Cheang Rieng (Chapei Khlok) and do not know the history of this instrument and do not know which ancestor or indigenous groups was the first creator. As for the production of this musical instrument, they can do it themselves because the raw materials are convenient and available locally. To make Gong Raeng, they need a good ripe gourd, dry it in the sun, and cut the bottom of the gourd into a circle with a diameter of about 7 cm, smaller or larger depending on the size of the bamboo. Then take a bamboo knot about 50 to 70 cm long and attach it to the top of the gourd using a rattan or string tied from the bamboo to the buttocks of the gourd to prevent it from slipping off. At one end of the bamboo, nine holes are drilled to hold a string made of bamboo or hardwood to tighten the strings of the instrument.

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.

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

Katta Ashula (a song performed with a plate) is specific to the Ferghana Valley of Uzbekistan. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, Katta Ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style. Katta Ashula developed from basic traditional events in history, from labour songs, and from different styles of ghazal verses. Usually, Katta Ashula is performed in big gatherings, festivities, and party celebrations.\n\nKatta Ashula songs were performed professionally and further developed by famous Khofizes such as Erkaqori Karimov, Turdiali Ergashev, Matbuva Sattorov, Jo'rakhon Sultonov, Mamurjon Uzoqov, Boltaboy Rajabov, Orif Alimakhsumov, Fattohkhon Mamadaliev, Jo' rakhon Yusupov, and Khamroqulqory To'raqulov. Today, Katta Ashula is masterfully performed by experienced singers with the highest skill, such as Khalima Nosirova, Munojot Yo'lchieva, Ismoil and Isroil Vakhobovs, and Mahmud Tojiboev.

Lapar performing arts, as an ancient folklore genre of people’s creation, has a rich history. Lapar songs are performed by famous artists during holidays, public festivities, and wedding parties as well as in a bride’s house in the evening during ‘Girls’ Evening’, ‘Girls’ Party’, and ‘Lapar Night’. Girls and boys perform Lapar songs composed of four-lined ghazals in two groups. Through Lapar songs, girls and boys express their love for each other, make decisions, and take oaths. They sing their heart’s grief with a certain melody but without any music. If both the girl and the boy who are singing Lapar fall in love with each other, they present gifts to one another. If the boys present flowers to girls, the girls present a kerchief, belt-kerchief, handkerchief, perfume, or some other gift.\n\nLapar songs are mainly composed of four-lined verses and are performed in the form of a dialogue between two parties. If they resemble o'lan songs from these features, they are distinguished by the ideas, literary references, descriptive objects, and the lifestyle that are sung in the lyrics- the level of thought is more highly developed by images. \n\nLapar songs were performed and became increasingly better known through the work of famous Lapar singers, such as Lutfikhonim Sarimsoqova, Tamarakhonim, Lizakhonim Petrosova, Gavkhar Rakhimova, Oykhon Yoqubova, Guishan Otaboyeva, To'khtakhon Nazarova, Qunduzkhon Egamberdiyeva, and others. To pay more attention to Lapar and o'lan songs, to collect them, to support the performers, and to publicise their creative work to the broader community, the Traditional Republican Festival of Lapar and O'lan performers is regularly conducted by the Republican Scientific and Methodological Center of Folk Art under the Ministry of Culture and Sports of the Republic of Uzbekistan.\n\n\n\n

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.

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 40 is 'Rites of Passage, a Journey to Adulthood.'

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'.