The role of intangible cultural heritage (ICH) as a guarantee for sustainable development has been recognized in the 2003 Convention for Safeguarding Intangible Cultural Heritage. The essence of ICH as a living heritage is anchored in the concept of sustainability wherein its practice, intergenerational transmission and re-creation influence its continuity among its bearers and practitioners. One of the safeguarding measures for ICH is through intergenerational transmission where one generation transmits their heritage to the coming generation as a mechanism to keep their heritage alive and thriving. Consequently, sustainability operates in a similar dynamic principle that assures for a development that meets the needs of the present without compromising the ability of future generations to meet their own needs.

A group of experts in 2010 conducted a marketing study within the framework of the Asian Development Bank (ADB) project Rural Women’s Living Standards Improvement through the Development of the Craftwork Sector which revealed hidden processes of impoverishment and the disappearance of traditional Kyrgyz folk art items.

School should be a happy place where students are willing to engage in activities, learn, share, and develop into citizens who make a useful contribution to society. Most people spend a significant proportion of their youth, and sometimes some of their adult years, in the education system. It is, therefore, not a surprise that quality education is one of the goals identified as part of the United Nations 2030 Agenda for Sustainable Development. Interestingly, this objective—Sustainable Development Goal 4 (SDG 4)—focuses not only on quantitative indicators (e.g., ensuring that all girls and boys complete free, equitable, and quality primary and secondary education) but also on qualitative aspects of education. It is essential to give a central place to strengthening education’s contribution to the fulfillment of human rights, peace, and responsible citizenship; this can be achieved through, among other aspects, the acceptance and appreciation of the cultural diversity of the world.

Kazakh ceramic art is as old as Kazakh history itself. Excavation sites of early and medieval nomadic cultures include many pottery traditions that mark historical milestones of the Great Steppe. The most ancient forms of ceramics found in the region correspond to similar pieces found all over the world. Researchers believe that the first pottery traditions were introduced during the Indo-Iranian (Aryan) era of nomadic cattlemen, which is associated with the Andronovo culture of the fifteenth to eighth centuries BCE. In medieval times, the increased demand for ceramics was linked to thriving medieval Silk Road townships. Though there are similarities with many other Eurasian schools of ceramic art, each area presents its own unique pieces that carry distinctive characteristics.

The Pacific Islands Museums Association (PIMA) is a regional, non-governmental organization that assists museums, cultural centers, national trusts, cultural departments and ministries, cultural associations, and arts councils. PIMA acknowledges the richness of the Pacific’s ICH and has undertaken some successful initiatives to support ICH safeguarding.

“ICH and Gender” introduces the mutual relationship between gender norms and ICH and emphasizes that understanding the intimacy between ICH and gender is important for effective ICH safeguarding and gender equality.

One phenomenon that distinguishes humans from other animals is the use of music and language. Musical instruments are a major tool in making music, which is sound organized by humans. In many regions, music, singing, and dancing are used interchangeably, and musical instruments and music are inextricably closely related. The word Ngoma in Africa is the name of a drum, but it is a comprehensive term that includes all the music, songs, and dances played by the drum and has the meaning of ritual ceremonies.\n\nMusical instruments have been with humankind since the Paleolithic era. Musical instruments are among the oldest and most widespread objects made by humans. Humans began making musical instruments to imitate the sounds of nature such as wind, rain, thunder, and the sound of birds singing as well as the howling of animals. Such a tradition of using nature sound continues to this day. We can see wind chimes that dangle by the wind in Buddhist temples throughout Asia; wind bamboo tubes in Bali of Indonesia; Đan Nu’o’c, created by Sedang people in Vietnam, which is a clicking bamboo musical instrument using water; and Suikinkutsu using a bamboo tube and water pot in Japanese gardens. Since the Neolithic era, people soothed the hardships of labor with songs, learning the power of the rhythm by pounding a pestle in a mortar. Humans began to think about transcendental beings and had ritual ceremonies, and they tried to impress their existence by using music and musical instruments.

Teyyam is a divine dance that is prevalent in the northern districts of Kerala, such as Kannur and Kasargod. The name teyyam is derived from daivam, a Sanskrit word meaning ‘god’ or ‘deity’. Performed in shrines, sacred groves, houses, and open places, teyyam represents mythological, divine, ancestral, animal, and heroic characters, each with its own distinct shape and form of origin. There are over 350 of these teyyams.

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.

The traditional carpet weaving takes a special place in the material culture of the Kyrgyz people, nomads and pastoralists of Central Asia. Its centuries-old history, customs and traditions has developed in various forms and techniques and is in demand on the market to this day. In the harsh and minimalistic conditions of nomadic lifestyle, textiles, including woven carpets, were an important part of a girl’s dowry. According to the local customs, when the bride initially arrives at her husband’s house, she decorates her new home’s interior with beautiful textiles given to her as a dowry. Different types of carpets and covers protected people from the cold, gave the home a cozy look and even functioned as furniture. They were created by the Kyrgyz women in different techniques and forms: embroidered wall panels, felted floor covers, woven lint-free and pile carpets.\n\nKyrgyz woven carpets can be divided into two types:\n1. taar or terme-taar is assembled from patterned stripes woven separately and then sewn together in the form of a bedspread or carpet. The stripes bo are woven by one craftswoman on a primitive loom using the terme or kajary techniques. The length of the patterned stripes reaches up to 20 – 25 meters; the width varies from 4 – 70 centemeters, depending on their purpose. Bo is also used to fasten together different parts of the yurt, a portable dwelling of nomadic peoples, assembled from a wooden frame and felt covers.\n\n2. The Batken, Osh and Jalal-Abad regions in the south part of Kyrgyzstan, located in the Fergana Valley of Central Asia, are considered to be the birthplace of the Kyrgyz woven traditional carpets – kilems. The main business of women to this day in Margun village in Leilek district of Batken region is carpet weaving. In the villages Kulundu, Samarkandek, Toguz Bulak, Aibikeh, Chimgent, Andarak, Kok Tash, Patkhoz, Bulak Bashy, carpet weaving is also developed and practiced by local women. Usually, women weave big size carpets, which can reach 2,5x4m or 2,5x5m, on horizontal looms – duken. Woven carpets with nap – zhule kilem, lint-free – arabi kilem and mixed – pombarkyt kilem.\n\nThe preparation of yarn using an archaic spindle – iyik is the most labor intensive and time consuming action. For different types of weaving, yarn is produced of varying degrees of twist and thickness in accordance with the specific requirements. Cotton, camel and goat wool is used for the base of the carpet, where is local sheep wool is mostly used for weaving. The pile knots are nailed with a wooden comb with teeth; the pile thread is cut off with a knife, and trimmed with scissors. In the traditional Kyrgyz carpets there are 80-90 thousands knots per 1 square meter. Pile height is 6-8 mm. A large carpet is woven by several women collectively. Approximately 3-5 women can complete a big arabi-kilem in 7-8 days, jule and pombarkyt – in about 15 days.\n\nPredominant colors: all shades of red combined with blue or black. Yellow, orange, pink, green, white and brown colors are used in limited quantities. For coloring, vegetable dyes made of local plants as onion and nut peels were previously used; since the end of the 19th century – aniline. Carpets are decorated with geometric, floral and horn-like patterns. The main ornamental motifs are: kaykalak – curl, tai tuyak – foal’s hoof, bychak uchu – knife tip, it taman – dog’s paw, ala monchok – variegated bead, boru gozu – wolf eye, jyldyz – star, etc.\n\nBy the beginning of the 21st century, weaving crafts in Kyrgyzstan almost had disappeared. Cheap machine-made synthetic carpets mostly imported from China and Turkey had practically ousted labor-intensive and expensive traditional carpets and strips made locally of natural raw materials. Nevertheless, hand-made carpets are still sold in the markets of Isfana, Batken and Kulundu villages. The main consumers are the locals of the Ferghana Valley, who appreciate them for traditional aesthetics. Prices for the dowry carpets at the market vary: 180-200 USD – for arabi, and 600 USD – for jule. The interest among local population to the traditional woven carpets increased due to the shyrdak, traditional Kyrgyz felt carpet, becoming the most successful craft product at the local touristic and export markets. In 2012 shyrdak was inscribed into the UNESCO List of ICH under the danger of disappearance.\n\nThe Crafts Council of Kyrgyzstan with the support of local administration is training of various traditional weaving technologies to the young generation of weavers in rural areas of the Kyrgyz Republic. International organizations support rural craft communities and cooperatives to create new working places, buy necessary equipment and train in both business management and marketing. This helps Kyrgyzstan to reach the UN goals of Millennium: to decrease poverty and safeguard traditional culture.\n\nPicture 1: A piled floor carpet in “jule” technique, size: 2.5x5m. Materials: sheep wool, goat wool (for the base); natural dyes: moraine, indigo, walnut. 1950s. Kulundu village, Batken region, Kyrgyz Republic. © Dinara Chochun\nPicture 2: A wall cover made of the woven patterned stripes in “kajary” technique. 1990s. Jalal-Abad region, Kyrgyz Republic. © Dinara Chochun\nPicture 3: A craftswoman weaves a patterned stripes using the “terme” technique, in the circle of a rural community on summer pastures. 1990s. Alai district, Osh region, Kyrgyz Republic. © Dinara Chochun