Vietnamese Institute for Musicology, formerly the Musicology Division of the Culture and Arts Bureau, was established in 1950. Undergoing many changes in organization structure and belonged directly to such different organizations as Music and Dancing Research Division, Department of Arts, Music and Dancing Bureau, Arts Institute, it was, up to 1976, officially separated to an independent institute with the name of Vietnam Musicology Institute. Vietnamese Institute for Musicology (VIM) at present is an institution belonging to Hanoi National Conservatory of Music under the Ministry of Culture and Information. nWith only 20 staffs in 1976, Vietnamese Institute for Musicology has increasingly developed its staff with the expansion in various activities. Total staff is now up to 50 people of different professional fields at 6 Divisions. They are Collection and Research Division, Scientific Information Division, Technology Division, Showroom for Vietnamese traditional musical instruments, Material and Publication Division, and Administration Division. nWith its specialization, Vietnamese Institute for Musicology is mainly responsible for collection, preservation, research and dissemination of Vietnamese traditional music within the nation and to the World.

Hat boi Folk Opera in Binh Dinh Province, listed in the National ICH List in 2014 \nThe Art of Tuong in Quang Nam, listed in the National ICH List in 2015 \nTuong is a traditional classical play based on Vietnamese folk songs, dances, and music, and is also called hat bo, or hat boi. The central themes of Tuong include individual sacrifice for a greater cause, imparting lessons about human behavior, and featuring heroic characters. These themes are portrayed aesthetically throughout the performances. It was performed as entertainment for the king and his \nmen at royal banquets or court ceremonies. Today, state-run theater groups perform in established theaters, and folk theater groups perform for village communities during festivals. In Tuong, the face of each character is painted carefully before the performance. The colors used are mainly white, red, blue or green, and black. The colors and patterns used on the faces have symbolic meanings and representations: a white face symbolizes gentleness and quietness; red stands for wisdom, courage, and staunchness; a striped face signifies an ugly person with a hot temper. Decorating the corners of the nose with a cloud-shaped line is necessary for the role of a king.\n\nMiniature statue of tướng male character Tạ Ôn Đình\nTướng motif\nTướng motif is the character type that inherit some traits on manners, actions, and choreography of kép that is brawny in type: Assertive, swift, powerful singing-dialogues delivery.\nHowever, the significant detail to pay attention to is their makeup being made as mask-like, which they are diverse with various stylised expressions. Depends on their role in the play,\nwe have protagonist tướng (the tướng that belongs in the good side and loyal) such as Trịnh Ân, Hoàng Phi Hổ, etc; and villain tướng (the tướng that are evil and vindictive), Ô Lợi Hắc.\nThe motif can also be deeper understood in its level 2 of formation- major tướng and minor tướng. Major tướng includes the traits that are mentioned above,\nwith social standing and hold a crucial role in the plot. Minor tướng, on the contrary, are characters that don't hold crucial position in the script like Châu Thương,) Tiết Quỳ, etc.\n\nMiniature statue of đào female character Phàn Phụng Cơ\nĐào văn\nIntellectual đào: Has the general traits of đào motif, elegant and graceful manners; innocent singing and dialogues. In which there is “royal đào" being the type of character that participates in official royal affairs. Example: Tạ Nguyệt Kiều. And then “simple đào/hairpin đào” is a peasant character type, or the character that has a prestige origin but fallen into peasantry; she wouldn't have any fancy headwear but only a simple hair pin. Example: Điều Huê Nữ.\n\nMiniature statue of lão elderly male character Vương Doãn\n“Lão” is a term to describe male characters (kép) that are elderly. With their brows and hair are white and gray; unhurried in movements; and a raspy singing-dialogue delivery. Additionally, there are also different techniques to portray their raspy voice delivery that can be categorised as follow:\nINTELLECTUAL LÃO\nInclude full characteristics of lão motif: white face, gray beard with three/five long smooth branches; educated and sophisticated.\nExample: Vương Doãn (the play “Phụng Nghi pavillon”); Kiều Quốc cựu (the play “The Beauty from Giang Đông region”); etc.\n\nMiniature statue of mụ female character Đồng Mẫu\nMỤ MOTIF\n“Mụ” is the type of female character (đào) that is elderly, their makeup tends to be light, with white eyebrows, silver hair, slow in movement; raspy singing-dialogues delivery. The majority of mụ motif are intellectual type, with a gentle and considerate manner. Example: Đổng mẫu (the play “San Hậu”); Dương linh bà (the play “Mộc Quế Anh offers the wood”) despite her origin as a fiery general but often expressed as a prestige and sophisticated woman.\n\nMiniature statue of tướng male character Đổng Trác\nĐổng Trác is a villain, portraited in nịnh motif. \n\nMiniature statue of kép male character Lữ Bố\n“Kép” is a term to describe male characters. Their appearances tend to be young or middle aged male, with a light makeup face (using beard to distinguish). This is a simple makeup style, reserved for characters that are handsome, or ordinary; they tend to be the psychological character that doesn’t need dramatic makeup to express their personality. Following the kép motif is the type of singing technique- with graceful and sophisticated dialogues. The common characters from kép motif (or can be called “kép in white”) are Tiết Đinh San, Tiết Ứng Luông (the play “The Goddess that offers Ngũ Linh flag”) Bá Ấp Khảo (the play “Bá Ấp Khảo”); etc.\n\nMiniature statue of đào female character Chung Vô Diệm\nĐÀO motif\n“Đào" is a term to describe female characters. Their appearances tend to be young or middle-aged females, where their makeup tends to be light and their presences are elegant, with innocent singing-dialogue delivery. In đào motif, only the character Chung Vô Diệm, Đào Tam Xuân, and Ngọc Kỳ Lân have their makeup as mask-like, the rest of them all have light makeup face. \nĐào võ\nBrawny đào: Possess full traits of đào motif, however she is assertive and stern; powerful singing-dialogue delivery. Example: Thần Nữ; Đoàn Hồng Ngọc; etc. Additionally, the mentioned characters that have mask-like makeup (Chung Vô Diệm, Đào Tam Xuân, Ngọc Kỳ Lân) are a part of brawny đào motif. They are portrayed in a dramatic style to reflect their strong personality and extraordinary talent.\n\nMiniature statue of kép male character Phàn Diệm\nKÉP WITH ANGRY EYES\nIs a kép motif that has more than just the general traits, but also a more extravagant styling in costuming. They have a red face makeup base; with a white eyes and dramatic eyebrows that are high up to the temple. This dramatic appearance only reflects their extraordinary characters for a teenage boy. Namely characters like Phàn Diệm (the play “San Hậu”); or the character Trịnh n (the play “Sentencing Trịnh n”) that is also a part of kép with angry eyes, but he would have a face makeup colour base in ashy gray or black. This genre of kép with angry eyes, or can be called as “young kép” is often paired with an older character (could be their father- like the characters Phàn Định Công, Trịnh n), their extraordinary appearance foreshadowing the talents that would emerge once they are matured.\n\nMiniature statue of kép male character Đổng Kim Lân\nKÉP IN RED\nIs a character motif that is based on the characteristics of kép motif (kép in white), however, the base makeup colour of the character tends to be in bright red or reddish pink. This is the character type that is loyal and determined in hát bội aesthetic. Example: Quan Vũ (the play “Battle at Phàn fortress”); Đổng Kim Lân (the play “San Hậu”); Cao Hoài Đức (the play “Sentencing Trịnh Ân”), etc.\n\nMiniature statue of yêu đạo turtle master character Dư Hồng\nYêu đạo motif\nSimilar like tướng motif, yêu đạo motif has a distinctive dramatic element of hát bội. However, yêu đạo tends to be portrayed as villain characters, in which they possess opposite traits from the protagonist, power abuser, with a sense of justice according to feudal law. Moreover, these characters tend to start off with non-human origins, they’ve honed their magical ability to become human so it made their manners appear animalistic. The character makeups are also suggestive of the manners and symbolism of their background. Examples such as Dư Hồng is originally a red bird that trained itself into human form so the eye makeup mimics a bird motif, with a red face makeup base. The design of yêu đạo/ turtle master tends to use weirdly big eyes to express an eerie manner, big tummy to indicate magic (or it could be called bụng phép), with costume similar to the Taoist monks.\n\nMiniature statue of lão elderly male character Phàn Định Công\nBRAWNY LÃO\nIn appearance, they also shared similarities like the lão motif. If there’s a difference, then it’d be their face makeup base coloured in red. The difference between intellectual lão and brawny lão- their performance manners. Brawny lão would have more decisive and assertive movements, and a more powerful singing-dialogue delivery.\nSAGGY LÃO\nSimilar to kép with angry eyes motif in kép motif, saggy lão motif is a lão motif that exceeds the usual characteristics and is portrayed in a dramatic styling. With a red face, a white under eye that extends to the cheeks, white beard; hot-headed and decisive. Example: Phàn Định Công (the play “San Hậu”); Trình Giảo Kim (the play “Phàn Lê Huê conquer the Hồng Thủy battle”); etc.\n\nMiniature statue of kép male character Khương Linh Tá\nKÉP IN GREEN / FOREST KÉP / MOUNTAIN KÉP\nTheir face makeup tends to be in faded gray or green; with high eyes and brows (depends on the traditional character design of the region and the troup). This character type tends to have a peasantry manner, down-to-earth, with the colour palette of faded gray and green to indicate a humbling origin as a farming man. Example: Khương Linh Tá (the play “San Hậu”); Châu Sáng (the play “Losing Nam Dương fortress”); etc.\n\nMiniature statue of nịnh male character Tạ Lôi Nhược\nThe motif can also be deeper understood in its level 2 of formation- major tướng and minor tướng. Major tướng includes the traits that are mentioned above, with social standing and hold a crucial role in the plot. Minor tướng, on the contrary, are characters that don’t hold crucial position in the script like Châu Thương (the play “Battle at Phàn fortress”) Tiết Quỳ (The play “Tiết Giao steals the pearl”), etc.\nTạ Lôi Nhược is a minor tướng character, in combination of feeble nịnh character.

Hat boi Folk Opera in Binh Dinh Province, listed in the National ICH List in 2014 \nThe Art of Tuong in Quang Nam, listed in the National ICH List in 2015 \nTuong is a traditional classical play based on Vietnamese folk songs, dances, and music, and is also called hat bo, or hat boi. The central themes of Tuong include individual sacrifice for a greater cause, imparting lessons about human behavior, and featuring heroic characters. These themes are portrayed aesthetically throughout the performances. It was performed as entertainment for the king and his \nmen at royal banquets or court ceremonies. Today, state-run theater groups perform in established theaters, and folk theater groups perform for village communities during festivals. In Tuong, the face of each character is painted carefully before the performance. The colors used are mainly white, red, blue or green, and black. The colors and patterns used on the faces have symbolic meanings and representations: a white face symbolizes gentleness and quietness; red stands for wisdom, courage, and staunchness; a striped face signifies an ugly person with a hot temper. Decorating the corners of the nose with a cloud-shaped line is necessary for the role of a king.\n\nMiniature statue of tướng male character Tạ Ôn Đình\nTướng motif\nTướng motif is the character type that inherit some traits on manners, actions, and choreography of kép that is brawny in type: Assertive, swift, powerful singing-dialogues delivery.\nHowever, the significant detail to pay attention to is their makeup being made as mask-like, which they are diverse with various stylised expressions. Depends on their role in the play,\nwe have protagonist tướng (the tướng that belongs in the good side and loyal) such as Trịnh Ân, Hoàng Phi Hổ, etc; and villain tướng (the tướng that are evil and vindictive), Ô Lợi Hắc.\nThe motif can also be deeper understood in its level 2 of formation- major tướng and minor tướng. Major tướng includes the traits that are mentioned above,\nwith social standing and hold a crucial role in the plot. Minor tướng, on the contrary, are characters that don't hold crucial position in the script like Châu Thương,) Tiết Quỳ, etc.\n\nMiniature statue of đào female character Phàn Phụng Cơ\nĐào văn\nIntellectual đào: Has the general traits of đào motif, elegant and graceful manners; innocent singing and dialogues. In which there is “royal đào" being the type of character that participates in official royal affairs. Example: Tạ Nguyệt Kiều. And then “simple đào/hairpin đào” is a peasant character type, or the character that has a prestige origin but fallen into peasantry; she wouldn't have any fancy headwear but only a simple hair pin. Example: Điều Huê Nữ.\n\nMiniature statue of lão elderly male character Vương Doãn\n“Lão” is a term to describe male characters (kép) that are elderly. With their brows and hair are white and gray; unhurried in movements; and a raspy singing-dialogue delivery. Additionally, there are also different techniques to portray their raspy voice delivery that can be categorised as follow:\nINTELLECTUAL LÃO\nInclude full characteristics of lão motif: white face, gray beard with three/five long smooth branches; educated and sophisticated.\nExample: Vương Doãn (the play “Phụng Nghi pavillon”); Kiều Quốc cựu (the play “The Beauty from Giang Đông region”); etc.\n\nMiniature statue of mụ female character Đồng Mẫu\nMỤ MOTIF\n“Mụ” is the type of female character (đào) that is elderly, their makeup tends to be light, with white eyebrows, silver hair, slow in movement; raspy singing-dialogues delivery. The majority of mụ motif are intellectual type, with a gentle and considerate manner. Example: Đổng mẫu (the play “San Hậu”); Dương linh bà (the play “Mộc Quế Anh offers the wood”) despite her origin as a fiery general but often expressed as a prestige and sophisticated woman.\n\nMiniature statue of tướng male character Đổng Trác\nĐổng Trác is a villain, portraited in nịnh motif. \n\nMiniature statue of kép male character Lữ Bố\n“Kép” is a term to describe male characters. Their appearances tend to be young or middle aged male, with a light makeup face (using beard to distinguish). This is a simple makeup style, reserved for characters that are handsome, or ordinary; they tend to be the psychological character that doesn’t need dramatic makeup to express their personality. Following the kép motif is the type of singing technique- with graceful and sophisticated dialogues. The common characters from kép motif (or can be called “kép in white”) are Tiết Đinh San, Tiết Ứng Luông (the play “The Goddess that offers Ngũ Linh flag”) Bá Ấp Khảo (the play “Bá Ấp Khảo”); etc.\n\nMiniature statue of đào female character Chung Vô Diệm\nĐÀO motif\n“Đào" is a term to describe female characters. Their appearances tend to be young or middle-aged females, where their makeup tends to be light and their presences are elegant, with innocent singing-dialogue delivery. In đào motif, only the character Chung Vô Diệm, Đào Tam Xuân, and Ngọc Kỳ Lân have their makeup as mask-like, the rest of them all have light makeup face. \nĐào võ\nBrawny đào: Possess full traits of đào motif, however she is assertive and stern; powerful singing-dialogue delivery. Example: Thần Nữ; Đoàn Hồng Ngọc; etc. Additionally, the mentioned characters that have mask-like makeup (Chung Vô Diệm, Đào Tam Xuân, Ngọc Kỳ Lân) are a part of brawny đào motif. They are portrayed in a dramatic style to reflect their strong personality and extraordinary talent.\n\nMiniature statue of kép male character Phàn Diệm\nKÉP WITH ANGRY EYES\nIs a kép motif that has more than just the general traits, but also a more extravagant styling in costuming. They have a red face makeup base; with a white eyes and dramatic eyebrows that are high up to the temple. This dramatic appearance only reflects their extraordinary characters for a teenage boy. Namely characters like Phàn Diệm (the play “San Hậu”); or the character Trịnh n (the play “Sentencing Trịnh n”) that is also a part of kép with angry eyes, but he would have a face makeup colour base in ashy gray or black. This genre of kép with angry eyes, or can be called as “young kép” is often paired with an older character (could be their father- like the characters Phàn Định Công, Trịnh n), their extraordinary appearance foreshadowing the talents that would emerge once they are matured.\n\nMiniature statue of kép male character Đổng Kim Lân\nKÉP IN RED\nIs a character motif that is based on the characteristics of kép motif (kép in white), however, the base makeup colour of the character tends to be in bright red or reddish pink. This is the character type that is loyal and determined in hát bội aesthetic. Example: Quan Vũ (the play “Battle at Phàn fortress”); Đổng Kim Lân (the play “San Hậu”); Cao Hoài Đức (the play “Sentencing Trịnh Ân”), etc.\n\nMiniature statue of yêu đạo turtle master character Dư Hồng\nYêu đạo motif\nSimilar like tướng motif, yêu đạo motif has a distinctive dramatic element of hát bội. However, yêu đạo tends to be portrayed as villain characters, in which they possess opposite traits from the protagonist, power abuser, with a sense of justice according to feudal law. Moreover, these characters tend to start off with non-human origins, they’ve honed their magical ability to become human so it made their manners appear animalistic. The character makeups are also suggestive of the manners and symbolism of their background. Examples such as Dư Hồng is originally a red bird that trained itself into human form so the eye makeup mimics a bird motif, with a red face makeup base. The design of yêu đạo/ turtle master tends to use weirdly big eyes to express an eerie manner, big tummy to indicate magic (or it could be called bụng phép), with costume similar to the Taoist monks.\n\nMiniature statue of lão elderly male character Phàn Định Công\nBRAWNY LÃO\nIn appearance, they also shared similarities like the lão motif. If there’s a difference, then it’d be their face makeup base coloured in red. The difference between intellectual lão and brawny lão- their performance manners. Brawny lão would have more decisive and assertive movements, and a more powerful singing-dialogue delivery.\nSAGGY LÃO\nSimilar to kép with angry eyes motif in kép motif, saggy lão motif is a lão motif that exceeds the usual characteristics and is portrayed in a dramatic styling. With a red face, a white under eye that extends to the cheeks, white beard; hot-headed and decisive. Example: Phàn Định Công (the play “San Hậu”); Trình Giảo Kim (the play “Phàn Lê Huê conquer the Hồng Thủy battle”); etc.\n\nMiniature statue of kép male character Khương Linh Tá\nKÉP IN GREEN / FOREST KÉP / MOUNTAIN KÉP\nTheir face makeup tends to be in faded gray or green; with high eyes and brows (depends on the traditional character design of the region and the troup). This character type tends to have a peasantry manner, down-to-earth, with the colour palette of faded gray and green to indicate a humbling origin as a farming man. Example: Khương Linh Tá (the play “San Hậu”); Châu Sáng (the play “Losing Nam Dương fortress”); etc.\n\nMiniature statue of nịnh male character Tạ Lôi Nhược\nThe motif can also be deeper understood in its level 2 of formation- major tướng and minor tướng. Major tướng includes the traits that are mentioned above, with social standing and hold a crucial role in the plot. Minor tướng, on the contrary, are characters that don’t hold crucial position in the script like Châu Thương (the play “Battle at Phàn fortress”) Tiết Quỳ (The play “Tiết Giao steals the pearl”), etc.\nTạ Lôi Nhược is a minor tướng character, in combination of feeble nịnh character.

Worshiping the Mother Goddesses of the three realms-heaven, water, and mountains (or forests)-has been a cultural activity since the sixteenth century, significantly influencing the lives of Vietnamese people. In worshiping Mother Goddess Lieu Hanh (the "Mother of the World") and other spirits of legendary heroes, followers practice spirit possession rituals and traditional festivals.\n\nThese cultural expressions combine traditional costumes, music, and dance to help maintain the community's cultural heritage. Through interviews with spirit mediums, this video shows how belief in the Mother Goddesses have united and healed the community.

Ca trù is a complex form of sung poetry found in the north of Viet Nam using lyrics written in traditional Vietnamese poetic forms. Ca trù groups comprise three performers: a female singer who uses breathing techniques and vibrato to create unique ornamented sounds, while playing the clappers or striking a wooden box, and two instrumentalists who produce the deep tone of a three-stringed lute and the strong sounds of a praise drum. Some Ca trù performances also include dance. The varied forms of Ca trù fulfill different social purposes, including worship singing, singing for entertainment, singing in royal palaces and competitive singing. Ca trù has fifty-six different musical forms or melodies, each of which is called thể cách. Folk artists transmit the music and poems that comprise Ca trù pieces by oral and technical transmission, formerly, within their family line, but now to any who wish to learn. Ongoing wars and insufficient awareness caused Ca trù to fall into disuse during the twentieth century. Although the artists have made great efforts to transmit the old repertoire to younger generations, Ca trù is still under threat of being lost due to the diminishing number and age of practitioners.

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

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.

According to statistics data of 2009, Phù lá ethnic minority had over ten thousand people, mostly living in Lào Cai. Phù lá ethnic minority lives in different small hamlets, each of which usually has between ten and fifteen roofs. The Phù lá lives in a region with many other ethnic minorities, such as Hmông, Dao, and Tày. The village elders or chiefs and family heads have a significant role in managing most affairs in the hamlets. The Phù Lá still preserves their traditional culture with the important annual rituals, such as the Lunar New Year (Tết Nguyên Đán), Holly Forest Worship Ceremony (Cúng thần rừng), the July Festival (Tết tháng bảy), the new rice festival at the beginning of October (tết cơm mới đầu tháng 10), Naming ceremony for baby (đặt tên con), funerals (tang ma), etc. Forms of folk music in the lives of Phù Lá people has not been much collected so far. The musical piece “A happy tune” is a solo for a string instrument meant to entertain Phù lá people. This is one of the few Phù lá recordings. It was recorded by the Vietnamese Institute for Musicology in 1959.

The genre Hò originated from the working environment. The Southern part of Vietnam, where the waters are a vital element for the workers to sing on these flowing streams. Back then, the genre of hò đường thuỷ (singing on waterways) was rather popular. From traditional performing environment, hò eventually separated into different genres- hò trên cạn (hò on land) and hò dưới nước (hò on water). Based on the carrying content, reflected themes, hò continue to evolve into various genres to adapt with different forms and narratives (hò thơ, hò văn, hò tuồng, etc.) \n\nNam Bộ (Southern Vietnam) is the area resides on the south side of Vietnam, including six provinces in the East and 13 provinces in the West. On a geographically level, the land of Nam Bộ is a stable region, in contrast to its cultural environment that is constantly changing and evolving.\n\nNam Bộ is home to various ethnic communities, such as the Việt people, the Kh'mer people, the Chăm people, the Hoa people, the Châu Ro people, the S'tiêng people, the Mạ people...And so, this has created a legacy to Nam Bộ folk performances and culture on this land. However, project "Phong hoa ca vịnh" only limits to the performance traditions of the Viet people, specifically the genres of ru, hò, and lý.\n\nFrom what was described about the early 20th centuries, it is evident how Nam Bộ art performance scene has rapidly transformed. No longer the time where lovers freely conversing their hearts by the rivers, all has sank into oblivion. Even the ru melodies have stopped lingering on the mother's lips, lost within the memories of her children. Culture and its nature of constantly evolving have opened up a contemporary cultural space that can response with today's society. The cyberspace, despite being "unreal", but it's meaningful enough to create an environment that filled with the poetry of ru, the melodies of lý, the bustling groove of hò - Where they have gathered a range of humanly emotions.\n\nThe blues (Hò) is a folk genre that originates from the working environment. Thanks to hò, it's helped the worker to aid their spirit, harmoneously integrate with the social interactions to bring out the best productivity outcome.\n\nThroughout history, hò has branched itself into different forms, where some branches fossiled within the past, and some have progressed into forms of expressions, for flirting, conversing,...On the aspect of social application, hò has a function that response with the need of labour. While on the sentimental aspect, hò reflects the internal needs of people.\n\nThis project is sponsored by the British Council under the program Heritage of Future Past- A 2018 project which aims to conserve and cultivate the archive of Vietnamese music and film, especially focusing on the untapped values of these mediums that are under the threat of being forgotten. You can learn more about the Heritage of Future Past program via this link: https://www.britishcouncil.vn/cac-chuong-trinh/nghe-thuat/di-san-ket-noi\n\nResearch by Mr. Le Hai Dang\nTranslated by Ms. Ha Hoang Minh Trang

The northern mountainous regions are the residential land of the Kinh people and twenty-eight out of fifty-four ethnic minorities in Vietnam. This land has diverse forms of folk culture in general and folk music in particular. The CD, Folk Music of Some Ethnic Minorities in the Northern Mountainous Regions of Vietnam introduces some repertoires of folk music that were recorded in 1959 (tracks 1, 2, 5, and 7), in 1964 (tracks 10 and 15) and in 1970 (tracks 3, 4, 6, 8, 9, 11, 12, 13, 14, and 16) and performed by folk artists from minority ethnic groups, such as Thái, Tày, Nùng, Cao lan, Phù lá, Hmông, of the northern mountainous regions. Although the sound quality of the recordings isn’t that good, the materials will be valuable to history and art researchers and those who love folk music. The recordings allow listeners to compare folk art of a time that was almost isolated with the outside world with folk art of our time—the time of Internet.

The genre Ru tends to perform within the familial environment, with a hypnotising nature that tends to be use to lull children.\n\nThe genre Hò originated from the working environment. The Southern part of Vietnam, where the waters are a vital element for the workers to sing on these flowing streams. Back then, the genre of hò đường thuỷ (singing on waterways) was rather popular. From traditional performing environment, hò eventually separated into different genres- hò trên cạn (hò on land) and hò dưới nước (hò on water). Based on the carrying content, reflected themes, hò continue to evolve into various genres to adapt with different forms and narratives (hò thơ, hò văn, hò tuồng, etc.) \n\nThe genre Lý is a common performance genre across all three regions of the country, although it could be the most popular in the Southern region. Pétrus Ky, a renowned Vietnamese scholar, once mentioned the saying “Southern region has lý, Huế region has hò, Northern region has thơ.” (Nam lý Huế hò Bắc thơ) as it points out how lý is a specialty of the Southern locals. In reality, lý not only has its mainstream popularity but also achieved a high level of craft and essence in traditional culture and professional life of the Southern region.\n\nThis project is sponsored by the British Council under the program Heritage of Future Past- A 2018 project which aims to conserve and cultivate the archive of Vietnamese music and film, especially focusing on the untapped values of these mediums that are under the threat of being forgotten. You can learn more about the Heritage of Future Past program via this link: https://www.britishcouncil.vn/cac-chuong-trinh/nghe-thuat/di-san-ket-noi.\n\nResearch by Mr. Le Hai Dang\nTranslated by Ms. Ha Hoang Minh Trang

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 38 is 'Funeral Ceremonies and New Beginnings.'

This Book is the outcomes of the 2021 Expert Meeting for Building Network on Maritime ICH, which is held on 29 October 2021.\n\nThe expert meeting was co-organized by ICHCAP and SPC under the theme of Maritime Living Heritage: Coastal Communities in the Asia-Pacific Region and Their Traditional Food System.\nThis meeting consisted of two sessions with the different approaches to the costal communities and their traditional food system; ecocultural approach and socio-cultural approach. This book contains nine case studies of experts and scholars.