The flute (pa lwei) is a wind instrument which consists of a hollow tubed played by blowing through a hole at one end. There are two kinds of Myanmar flutes: The "khin balwei" and the "kjo palwei". The khin balwei is commonly played. It has a ventage and a reed at the blowing end. The kjo balwei has no reed. Blowing the kjo balwei may be seen in the murals at Ananda and Mingalar Zedi in Bagan. Earlier flutes are wood or plastic. The ventage holes are made according to the diameter of the bamboo. Altogether 10 holes are perforated: seven finger holes, thumb- hole, the membrance hole and the "pinkelu" hole. The membrance hole is now not made because it tends to produce a shrill sound.\nIn preparing the tube, the lowest hole is perforated at two- thirds of the way up the flute. Then the six holes are perforated at distances according to the diameter of the bamboo. The thumb- hole is perforated on the lower side of the flute at the point half- way between the upper sixth and seventh hole. The "pinleku: vent hole is perforated between the topmost finger hole and the tube end. The membrane hole lies between the vent hole and the seventh hole. \nThe flute can be seen playing together with the shawm in pot- drum troupe, dobat troupe, classical music troupe, modern music troupe. The flute comes in two sizes: the big and small. The flute can cover the chromatic scale.

The flute (pa lwei) is a wind instrument which consists of a hollow tubed played by blowing through a hole at one end. There are two kinds of Myanmar flutes: The "khin balwei" and the "kjo palwei". The khin balwei is commonly played. It has a ventage and a reed at the blowing end. The kjo balwei has no reed. Blowing the kjo balwei may be seen in the murals at Ananda and Mingalar Zedi in Bagan. Earlier flutes are wood or plastic. The ventage holes are made according to the diameter of the bamboo. Altogether 10 holes are perforated: seven finger holes, thumb- hole, the membrance hole and the "pinkelu" hole. The membrance hole is now not made because it tends to produce a shrill sound.\nIn preparing the tube, the lowest hole is perforated at two- thirds of the way up the flute. Then the six holes are perforated at distances according to the diameter of the bamboo. The thumb- hole is perforated on the lower side of the flute at the point half- way between the upper sixth and seventh hole. The "pinleku: vent hole is perforated between the topmost finger hole and the tube end. The membrane hole lies between the vent hole and the seventh hole.\nThe flute can be seen playing together with the shawm in pot- drum troupe, dobat troupe, classical music troupe, modern music troupe. The flute comes in two sizes: the big and small. The flute can cover the chromatic scale.

The cymbal (la gwin:) is a circular, slightly concave bress instrument usually used in pairs which are struck together to produce a crashing, ringing sound. The larger cymbals accompany the big drum (pa' ma), the middling size is played with the horizontal drum (sa khun) and the smaller size in pot- drum or dobat troupes. The cymbals are played in grand drum ensembles, anyein ensembles, instrumental ensembles and to provide music for nat festivals.During the Bagan period, the cymbal was called khwe' khwin: according to various lithic inscriptions. The two cymbals are clashed against each other to produce the full sound, or its edges are hit against each other to produce a soft sound. When the sound of clashing cymbals are not interfered with the sound produced is called open. When the sound is dampened, it is "closed". The muffling is done by putting the cymbals to the chest and thereby killing the sound.

Different size of two flutes are connected with cane string by using species of dark, glossy bamboo. Big bamboo is called (Pyit Khayon) and small one is called (Pyit Zaw). Air hole of Pyit Khayon is covered with small bamboo slats. It is perforated five holes. Air hole of Pyit Zaw is covered with two bamboo slats and pot hole is made at the tip of it. There is a hole at the bottom of it. Two flutes can be blown together from air hole. It produces two song together. It is played for singing poem when young unmarried boys are going a courting. Other melodies can’t blow with it.\n-10.5 inches in Length of Pyit Khayon\n-1.5 inches in Girth of Pyit Khayon\n-1.5 inches in Length of air hole\n-2.5 inches in Length of air hole to first feet\n-10 inches in Length of Pyit Zaw\n-1 inch in Length of air hole\n-3 inches in Length of air hole to first fret

The flute (pa lwei) is a wind instrument which consists of a hollow tubed played by blowing through a hole at one end. There are two kinds of Myanmar flutes: The "khin balwei" and the "kjo palwei". The khin balwei is commonly played. It has a ventage and a reed at the blowing end. The kjo balwei has no reed. Blowing the kjo balwei may be seen in the murals at Ananda and Mingalar Zedi in Bagan. Earlier flutes are wood or plastic. The ventage holes are made according to the diameter of the bamboo. Altogether 10 holes are perforated: seven finger holes, thumb- hole, the membrance hole and the "pinkelu" hole. The membrance hole is now not made because it tends to produce a shrill sound.\nIn preparing the tube, the lowest hole is perforated at two- thirds of the way up the flute. Then the six holes are perforated at distances according to the diameter of the bamboo. The thumb- hole is perforated on the lower side of the flute at the point half- way between the upper sixth and seventh hole. The "pinleku: vent hole is perforated between the topmost finger hole and the tube end. The membrane hole lies between the vent hole and the seventh hole. \nThe flute can be seen playing together with the shawm in pot- drum troupe, dobat troupe, classical music troupe, modern music troupe. The flute comes in two sizes: the big and small. The flute can cover the chromatic scale.

The flute (pa lwei) is a wind instrument which consists of a hollow tubed played by blowing through a hole at one end. There are two kinds of Myanmar flutes: The "khin balwei" and the "kjo palwei". The khin balwei is commonly played. It has a ventage and a reed at the blowing end. The kjo balwei has no reed. Blowing the kjo balwei may be seen in the murals at Ananda and Mingalar Zedi in Bagan. Earlier flutes are wood or plastic. The ventage holes are made according to the diameter of the bamboo. Altogether 10 holes are perforated: seven finger holes, thumb- hole, the membrance hole and the "pinkelu" hole. The membrance hole is now not made because it tends to produce a shrill sound.\nIn preparing the tube, the lowest hole is perforated at two- thirds of the way up the flute. Then the six holes are perforated at distances according to the diameter of the bamboo. The thumb- hole is perforated on the lower side of the flute at the point half- way between the upper sixth and seventh hole. The "pinleku: vent hole is perforated between the topmost finger hole and the tube end. The membrane hole lies between the vent hole and the seventh hole.\nThe flute can be seen playing together with the shawm in pot- drum troupe, dobat troupe, classical music troupe, modern music troupe. The flute comes in two sizes: the big and small. The flute can cover the chromatic scale.

The cymbal (la gwin:) is a circular, slightly concave bress instrument usually used in pairs which are struck together to produce a crashing, ringing sound. The larger cymbals accompany the big drum (pa' ma), the middling size is played with the horizontal drum (sa khun) and the smaller size in pot- drum or dobat troupes. The cymbals are played in grand drum ensembles, anyein ensembles, instrumental ensembles and to provide music for nat festivals.During the Bagan period, the cymbal was called khwe' khwin: according to various lithic inscriptions. The two cymbals are clashed against each other to produce the full sound, or its edges are hit against each other to produce a soft sound. When the sound of clashing cymbals are not interfered with the sound produced is called open. When the sound is dampened, it is "closed". The muffling is done by putting the cymbals to the chest and thereby killing the sound.

Wood has to be made one side is big and the other side is small. It is not same Myanmar rounded Pot Drum, it is a slender shape. It’s body is applied black oleo-resin from tree. It’s neck is applied red line and black line. The playing surface is played by hands to make sounds.\nThe specific size of the drum is:\n-4 feet 4 inches in Length\n-11inches in Diameter of playing surface\n-3 inches in Circumference of playing surface\n-1 feet 5 inches in Length of Kyat Yin\n-1 feet 2 inches in Girth of Padine\n-3 feet 2 inches in Length of neck of drum\n-1.5 feet in Hight of bottom\n-3 feet 2 inches in Girth of bottom

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

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.

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.

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.

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 is 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.

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.

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.

Oral tradition consists of diverse narratives. It is passed on by word of mouth as everyday wisdom and transmitted through the generations. After that, it becomes infused in a region’s history, philosophy, and way of life, thus forming the foundation for a community’s knowledge systems. This volume introduces traditional tales in Sri Lanka, Palau, Kyrgyzstan, and Vietnam.

ICHCAP published the book Living Heritage Series, Water: Interconnectivity between Intangible Cultural Heritage and Science in collaboration with the i-WSSM.\n\nThe subject of this publication is water. This book was made with contributions of nine authors with stories about ‘water management’ and ‘water and culture’ of the Asia Pacific region. The objective of the publication is to expand the boundary or interface of water centering on Sustainable Development Goals (SDGs) 6, Clean Water and Sanitation.

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'.

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 35 is 'ICH and City Festivals.'