Gar-zo (Blacksmith/iron craft) is one of the Bhutan's 13 traditional crafts and is considered as one of the earliest crafts/arts of the Bhutanese people. It is believed that it was introduced by a Tibetan saint known as Dupthob Thangtong Gyalpo in the 14th Century. He is revered by the Bhutanese people as a master engineer for his skill in casting iron chains and erecting them as bridges over gorges. He is supposed to have built eight suspension bridges in Bhutan. One can still see one of the bridges crossing over the Paro Chu, on the road from Paro to Thimphu, and linking the highway to the famous Tachog lhakhang (temple). The remains of another bridge can be viewed at the National Museum in Paro. \n\nHowever, J. LaRocca,D (2006) in his book mentioned that Dupthob Thangthong Gyalpo came to Bhutan for the first time in 1433-44 to gather the iron ore to build bridges in Tibet. The iron he collected was forged into 7000 links by a team of 18 blacksmiths from five villages near Paro, one of the village was Woochu where the art is still practiced today. It was believed that Thangthong Gyalpo distributed 18 anvils as a token of gratitude among the blacksmiths gathered and blessed them to earn their livelihood and flourish the craft. The donation of iron chain links to Dupthob was an evidence that the people of Woochu practiced the iron craft way before Thangthong Gyalpo’s visit. Unfortunately there are no records and even the oldest living master blacksmith had nothing to substantiate on this matter. There were many places in Bhutan that manufactured iron handicrafts before but with passing time the art and skills faded and only few places are still practicing it today, one of it being Woochu.\n\nThe origin of black smithy in Woochu is lost in antiquity. There are no records or documents to trace the origin of the art. However, oral accounts of some elderly people posits that the art might have started out of necessity. Before Woochu was known for its famous blades, it manufactured agricultural tools that were used by the locals. Moreover, recent findings showed that a large forging took place near the place where the iron formation was found. Gaw (Blacksmith) Phajo also believes that the founding of black smithy will not be possible without the iron ore. So he supports the idea of the foundation of black smithy due to the iron ore that was found in the area. The blacksmiths of Woochu manufactured and repaired agriculture tools for the locals before it became known for the famous Woochu blades. Woochu blades are very popular and are known for their tensile strength and durability. There were only three iron craftsmen with traditional knowledge and skills before, all are officially retired now.\n\nBlacksmithing, a traditional craftsmanship handed down for several hundred years, was on the verge of extinction. With not many blacksmiths remaining and even lesser apprentices showing interest in learning the skill. Those who used to practice the trade has died and some were retired. The younger generations seemed disinterested in taking up the art. Initially the blacksmiths in the area took up the art as part of earning daily wage. It was like any other job that fetched money. Moreover, the job of a blacksmith was physically tiring, and the social stigma that the trade carried was perhaps another reason why it has failed to attract the attention of the younger generations in the community. The blacksmiths were looked down in the community. \n\nThe art of crafting fine Bhutanese swords was on the decline. In 2016, His Majesty the King commanded for a training center to be set up in Woochu to revive the dying art. Reviving the centuries-old trade was challenging but not impossible. Royal Metal Craft Center (RMCC) was an intervention aimed at reviving and promoting dying crafts and reinstating it as a source of livelihood. The center is now established and works are underway to further develop it.

Khon, the Khon Masked Dance Drama in Thailand, is a performing art that combines musical, vocal, literary, dance, ritual and handicraft elements. Khon performances – which involve graceful dance movements, instrumental and vocal renditions and glittering costumes – depict the glory of Rama, the hero and incarnation of the god Vishnu, who brings order and justice to the world. The many episodes depict Rama’s life, including his journey in the forest, his army of monkeys, and his fights with the army of Thosakan, king of the giants. On one level, Khon represents high art cultivated by the Siamese/Thai courts over centuries, while at another level, as a dramatic performance, it can be interpreted and enjoyed by spectators from different social backgrounds. Khon has a strong didactic function, reinforcing respect for those of a higher age and status, mutual dependence between leaders and followers, the honour of rulers and the triumph of good over evil. Traditionally, Khon was transmitted in the royal or princely courts, and in dance masters’ households. Today, however, transmission occurs mostly in educational institutions, while still adhering largely to traditional methods. Concerted efforts are made to ensure the continuity of the practice, including through the establishment of training and performance clubs that help reach out to young people.\n\nHanuman is the main character of the Ramakien. He is the monkey commander of the monkey army of Rama. He is regarded as the ideal combination of strength, heroic initiative and assertive excellence and emotional devotion to Rama. In Thai Khon performance, Hanuman mask is in white color with opened mouth.\n

▶ Play Video 1. The World of a Maguindanao Virtuoso: This episode was first aired on Filipino television on August 18, 1994. This episode has been modified from its original format.\n\nThe Maguindanao (Magindanaw, Maguindanaw, Magindanao, Maguindanaon, Magindanaoan, Mindanao) form one of the large ethnic groups of the country. Most of the members are concentrated in the municipalities of Dinaig, Datu Piang, Shariff Aguak, and Buluan, in the province of Maguindanao.\n\nConstant contact with the Spaniards led to naming the entire island after the Maguindanao. The people practice Islam; their culture and social structure are deeply tied to this eligion, forming a conformity without which the group would not have been able to resist the incursions of the Spanish conquistadores. One of the three Philippine sultanates is aguindanao. The Maguindanao sultanate at one period in history could claim ritual authority over southwestern Mindanao. Their socio-political system and the hierarchical structure of their society are complex and similar to that of the Sulu sultanate.\n\nThere are three royal houses: Maguindanaon in Sultan Kudarat, Buayan in Datu Piang, and Kabuntalan in Tumbao, all of which trace their lineage to Sharif Kabunsuan, one of the earliest Muslim missionaries, and Sultan Kudarat. Customary law (adat) is applied, embodied in oral traditions and in accordance with the Paluwaran code, which contains provisions for very aspect of life.\n\nThe culture is characteristically lowland with a special adaptation to marshland, and wet rice is the staple food. Arts and crafts are well developed, exhibiting sophistication in eaving. Through waste mold technology metalwork and with the double-bellows Malaysian forge, they produce a wide range of bronze artifacts including betel-nut boxes, gongs, knives, racelets, and even the Southeast Asian cannon, the lantaka. The lantaka is not used just in warfare, but also as a prestigious status symbol.\n\nTheir ornamental art employs very characteristic design motifs that show affinity with the rest of Southeast Asia while retaining a distinctive ethnic identity. Their musical nstruments include a unique crocodile-motif version of the ubiquitous two-stringed lute, the kutyapi; the kulintang, which comprises eight brass gongs of graduated sizes; and the very large and deep agong, as well as various drums and flutes. Their music is characterized by drone and permutation.

The Apsara dance is a dance inspired by the bas relief on the corridors of the Angkor Wat. It is also referred to as Khmer traditional dance and Khmer royal ballet, and was inscribed to the UNESCO Representative List of the Intangible Cultural Heritage of Humanity under the title ‘The Royal Ballet of Cambodia’.\n\nApsaras are spirits of cloud and water in Hindu and Buddhist legends. They are also referred to as ‘celestial dancers’ or ‘dancing goddesses’. The dance is characterized by magical golden costumes, elaborate make up and accessories, and slow, elegant movements. Its detailed and elaborate hand gestures can only be performed by highly skilled dancers.\n\nThe Apsara dance has been performed at official events of the Khmer royal court such as coronations, weddings, funerals and celebrations for over 1,000 years. Today, the dance which recreates legends about the origins and history of the Khmer is regarded by Cambodians as a symbol of their culture. Although its practice was interrupted under the communist regime in the 60s and 70s, it was dramatically restored in 1979, right after the collapse of the Pol Pot regime. While its former glory has been restored to a certain extent, it still faces many challenges such as the lack of official support, difficulty in finding performance spaces, competition with popular culture and over-commercialization as a tourism product.\n\nCharacteristics:\n·Inscribed to the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2008 (The Royal Ballet of Cambodia)\n\nPerformed by Leu Sivmeng, Leng Sreypenh, Pich Raksmey\nDirected by Yon Sokhorn

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.

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

CD3_SUFI TRADITIONS OF NORTH INDIA\n\nQawwali is a musical genre that shares general traits with the light classical music of North India and Pakistan but distinguishes itself by its religious function. The term Qawwali applies both to the musical genre and to the occasion of its performance, the devotional assembly of Islamic mysticism - or Sufism - in India and Pakistan. The practice of Qawwali extends throughout Muslim centers of the Indian subcontinent, but its roots are North Indian. Qawwali music is performed by qawwals, professional musicians who perform in groups led by one or two solo singers. Qawwals present mystical poetry in Persian, Hindi, and Urdu, alternating solo and group passages characterized by repetition and improvisation. Handclapping and drumming on the barrel-shaped dholak accompany the singers, and a small portable harmonium played by the lead singer highlights the song’s melody. Amir Khusro Dehlavi of the Chishti order of Sufis is credited with fusing the Persian, Arabic, Turkish, and Indian musical traditions in the late-thirteenth century in India to create Qawwali as it is known today. The word Sama is often still used in Central Asia and Turkey to refer to forms very similar to Qawwali, while in India, Pakistan and Bangladesh, the formal name used for a session of Qawwali is Mehfil-e-Sama.\n\nQawwali is performed at the dargah, the shrines of Sufi saints, as well as in Sufi mehfils, which are commissioned performances. The structure and order of the songs vary in both these contexts. As will be seen, in many forms of Qawwali, an object of love, such as a god or a husband or wife, is portrayed and worshipped. Qawwali was popularized by Nusrat Fateh Ali Khan, a Pakistani performer. And it has started to enter mainstream popular music thanks to the recent public interest in Sufi music. It is thus no longer purely devotional. There are many silsilas (orders) of Sufism and hence many forms of Qawwali. The recordings in this album are mainly of the Chishtiya silsila – the followers of the Sufi Saint Khwaja Moinuddin Chishti. Nizamuddin Auliya, also a Sufi saint, was his follower. The texts were written by Amir Khusrau and contain many references to these saints. This Qawwali party consists of seven or eight members. The group joins as a chorus and claps to add percussion. These recordings were made at Sufi shrines in the late 1970s by Regula Qureshi, one of the most famous scholars of this genre. Since they were recorded in a crowded area on the field, the tracks have disturbances and ambient noise. However, as recordings from an actual authentic context, they carry a lot of value.

CD7_CA HUẾ (THE HUẾ SINGING) IN CENTRAL VIETNAM\n\nCa Huế (the Huế singing) was a special traditional chamber music in Huế, a central city of Vietnam. Ca Huế originated from royal music. “There was the chamber music, serving the Nguyễn Kings and their mothers”. At first, Ca Huế was the chamber music performed in the palaces of royal families, mandarins, and wealthy people. After that, it spread to common communities. Ca Huế has been gradually influenced by many Huế folk musical types. During its development, Ca Huế affected royal music; for example, ten bản Tàu musical pieces (or it can be called ten bản Ngự or Thập thủ liên hoàn) were played in sacrifice ceremonies or some occasions in the court by royal instrumentalists. Ca Huế is the essence mixture of folk music and royal music, which creates the special nuance satisfying the artistic demand of the elite intellectual class and the common class. As a result, in the past, during happy occasions such as New Year ceremonies, parties for celebrating promotions, or parties for opening new businesses, Ca Huế was organised at the private houses of mandarins, the elite class, and Huế common people.\n\nIn the past, participants of Ca Huế included only the elite class, mandarins, and the people with erudite literary knowledge and with the ability to compose beautiful and profound lyrics. They played instruments together and shared their thoughts through instrumental music and singing. The singing and the instrumental music of one person was the inspiration for the singing and the musical composition of another. Group members were also the audiences. They enjoyed their mutual talents respectfully. In recent years, Ca Huế has been performed on stage to also serve the common people. In this musical type, there is a clear classification between composers, performers, and audiences like professional music. The interactive relation among group members of Ca Huế chamber music can be presently only found in Ca Huế in private houses.

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.

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 17 is 'TRADITIONAL CHILDREN’S GAMES.'

ICHCAP, with the support of the Cultural Heritage Administration of Korea and the cooperation of the State Ministry of Cultural Affairs of Sri Lanka, hosted the five-day Sri Lanka-ICHCAP Cooperative Workshop on Digitizing ICH-Related Audio-Visual Materials in various locations in Jeonju and Seoul. The workshop was organized to explore methods and technologies involved with digitizing analogue audiovisual resources related to intangible cultural heritage, with emphasis on Sri Lankan music so that it can be approached and enjoyed around the world.\n\nThis publication includes the nine paper presentations as well as transcripts of the speeches and information related to the field visits.