This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

The circle dance, where people dance in a rotating formation, has appeared in many cultures since ancient times. The form and structure of the circle dance reflect the aesthetic concepts of mysteriousness, the incessant generation of filling and emptying, eternal return, unity, and defense. While there are various kinds of circle dance forms in Korea, the grandest one, with more than 250 dancers, is the yeowonmu.

Information is considered a safeguarding measure in the 2003 UNESCO Convention. The word ‘information’ is found several times in the text of the 2003 Convention. States Parties are required to provide information regarding programmes of inventory of ICH in their territories1. States Parties to the Convention are required to endeavour, by all appropriate means, to ‘ensure recognition of, respect for, and enhancement of the intangible cultural heritage in society, in particular through: …educational, awareness-raising and information programmes, aimed at the general public, in particular young people’.2 Educational, information, and awareness-raising programmes are herein identified as tools for ensuring the recognition of, respect for, and enhancement of ICH in society to be directed towards the general public, in particularly young people. That the younger generation be able to access information on ICH is essential to ensure ICH transmission for the ongoing safeguarding of ICH. This reference highlights the relation between information programmes and awareness-raising and educational programmes. Obviously awareness raising or educational programmes cannot be carried out without materials based on appropriate information on ICH.

Co-orgarnized by ICHCAP and Hue Monuments Conservation Centre (HMCC), this year’s Asia-Pacific ICH NGO Conference was held in Hue, Vietnam under the theme of ICH NGOs towards Sustainable Development of Communities.

Co-orgarnized by ICHCAP and Hue Monuments Conservation Centre (HMCC), this year’s Asia-Pacific ICH NGO Conference was held in Hue, Vietnam under the theme of ICH NGOs towards Sustainable Development of Communities.

Abstract: In this paper, the author discusses a diversity-focused approach to musical instruments, using Japanese traditional instruments as an example. In Japan, there are safeguarding systems in place to protect not only the performing arts and its performers, but also the techniques used for making musical instruments, instrument makers. . Simultaneously, there are many musical instruments of the same historical origin throughout Asia. Approaching the musical instruments in a new framework – one which includes the performers and instrument makers – adds new perspectives such as the natural environment, traditional knowledge, and methods for accommodating the conditions specified for each era. If we apply this perspective to Asian musical instruments, we may be able to discover new stories of diversity that connect musical instruments.

Traditional music: the soul of the universe! Traditional music: the unspoken language!\n\nAll around the world music plays an important role in communicating human expressions and emotions. Besides being an artistic and creative form of expression, music is associated with festivity—the celebrations of new beginnings, birth, initiation, courtship, marriage, and death. Music, with or without instruments, is an integral part of traditional occupations and daily chores, such as planting, harvesting, and processing food, herding, fishing, and craft making, such as carpentry, pottery, and basketry. \n\nMusic communicates meaning during rituals and rites and is often used as a tool for meditation. With or without song, the sounds of flutes, drum, trumpets, gongs, bagpipes, and others can evoke memories and transport people to places of happiness, peace, hope, nostalgia, and melancholy. As Plato, the philosopher said, “music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything.” The ability to sing and create music is a gift bestowed on a person regardless of his or her social status. Regardless of its source, music can be embraced by people of all walks of life and is an intrinsic part of cultural heritage

A treasure trove of both natural and cultural diversity, India is home to innumerable rural and indigenous communities dotting its varied geographical landscape. One such community—the Manganiyars—is a clan of hereditary professional musicians residing in the villages of the Thar desert in western Rajasthan. Their oral legends say that these communities settled in different villages of Barmer and Jaisalmer around a thousand years ago. \n\nThe Manganiyars hold a vast repertoire of folk songs integral to their ways of life and significant to their social systems. For centuries, their music has been supported by their traditional patrons, called Jajmans, who usually live in the same or nearby villages and engage the Manganiyars to sing at various life events and celebrations of their families in exchange for money, land, and gifts. A distinctive feature of this patron-server relationship is the Manganiyars’ exclusive and vital role as genealogists of their patrons’ families that can go back to fourteen or eighteen generations, such record keeping being entirely oral. The Manganiyars belong to the Mirasi (entertainers) community. They are Muslims but sing for both Hindu and Muslim patrons, performing songs of Hindu gods and goddesses as well as Muslim Pirs and \nFakirs (Sufi saints or spiritual guides). The melodic structure of their music resembles classical traditions, but in reality, is very different in terms of the raagas (combination of notes) and associated time theory. The Manganiyars believe that their children are born with an inherent sense of music that is naturally transmitted to subsequent generations through some magical non-formal framework that is undefined and innate. Unlike many other indigenous communities, they themselves have kept their tradition alive, believing that music is fundamental to their ‘being.’

Mizhavu, the main percussion instrument of Kutiyattam has a history of more than 2000 years. Kutiyattam is a Sanskrit theatre embracing classical as well as folk traditions of Kerala. Kutiyattam was inscribed on the UNESCO Representative List of Intangible Cultural Heritage of Humanity. This ancient artform is an exquisite combination of acting, percussion, and gestures. The performers are Chakyars and Nangyars and its percussionists are Nambiars. Kutiyattam is based on four acting principles: angika, vachika, sathvika and aharya. \n\nBharathamuni music instruments are classified into four categories:\n1) Avanaddhavadya\n2) Tatvadhya\n3) Ghanvadhya\n4) Sushiravadhya

Une musicienne entre chez nous et dépose sa grosse boîte sur la table du salon. Comme un écrin, celle-ci s’ouvre et laisse apparaître un accordéon. Un autre musicien barbu pose un étui et en sort une guitare, sous l’œil accoutumé de son chien. La salle s’enflamme à travers le rythme et les volutes de fumée de cigarette. Mes parents, tantôt danseurs ou musiciens, me somment d’aller me coucher, mais je fais semblant d’y aller et je reste caché en haut de l’escalier avec mon frère. Fasciné, je m’arrache au sommeil pour écouter jouer des membres de groupes culte tels que Le Rêve du diable ou La Bottine souriante.\n\nD’aussi loin que je me souvienne donc, j’ai été bercé par ce son si caractéristique de l’accordéon diatonique et de ses anches dites mouillées, c’est-à-dire des lamelles accordées suivant des fréquences suffisamment éloignées entre elles pour que cela produise une sonorité forte et large, avec un soupçon de dissonance parfaite pour accrocher les cœurs et surtout les chanteuses, les danseurs ou les gigueuses!

Co-orgarnized by ICHCAP and Hue Monuments Conservation Centre (HMCC), this year’s Asia-Pacific ICH NGO Conference was held in Hue, Vietnam under the theme of ICH NGOs towards Sustainable Development of Communities.

"Fiji perceives the 2003 Convention as an important tool to enhance the national pursuit to protect, promote, and revitalise traditional knowledge systems and intangible cultural heritage (ICH) of not only the indigenous iTaukei but also the many other ethnic groups that have made Fiji their home. It is these migratory ethnic cultures that are creating a challenge to the survival the indigenous culture, but at the same time, they are also a blessing in disguise because the influx of different cultures creates a multi-ethnic cultural society, one that is open to dialogue, national identity, and greater understanding, which then promotes pluralism in creativity and innovation. \nHowever, one of the most promising features of migratory cultures is that their dancers, spoken language, and forms of worship have to some extent become accustomed to the new environment that has engulfed their new social structure. And this is the most fascinating thing about ICH—it is evolving, so it is a form of living heritage. The migratory groups whilst practicing their heritage have also adopted elements of the local culture. The same also applies to the indigenous culture, which has adopted aspects of the migratory culture over time. For example, garlanding (veivakasalusalutaki) during traditional welcoming ceremonies and other events was not originally a part of iTaukei ICH, but through time, it has been adopted from other Pacific Island cultures, such as the Rotuman, Indo-Fijian, and Chinese cultures. So we are continually faced with questions and challenges as to that which the community perceives as their true ICH and that which is borrowed, and in respect of those that are a blend of both, where do they fit? Or to whom does it belong? What if the community collectively feels that it is not their own, what do we do? Do we still enter this into our national inventories? The contemporary ICH (art)—how are we to embrace it? These are issues we hope to explore further in the "