Intangible cultural heritage presents an important form of living cultural heritage. It covers fundamental, yet extremely vulnerable aspects of living culture and tradition embodied in the spiritual life, traditional knowledge, skills, and practices of communities. It presents one of the most vivid and colourful forms in which the world’s cultural diversity is expressed and preserved.

During its seventh session in 2012, the Intergovernmental Committee for the Safeguarding of Intangible Cultural Heritage had discussions on the increasing concern over the commercialization of intangible cultural heritage. Many issues were debated at that time, illustrating the growing awareness among States Party of the need to provide guidelines on ethical approaches to the safeguarding of intangible cultural heritage. The UNESCO Secretariat was therefore invited “to initiate work on a model code of ethics.”

Central Asia is a region that has served as the centre of social and economic, in particular cultural interrelations of East and West. The nations of this region have a rich cultural heritage and ancient traditions like any nation in the world. The nations of Central Asia - Mongolia, Kazakhstan, Kyrgyzstan, Uzbekistan, Turkmenistan and Tajikistan – make up a unified cultural space, defined by great grassland steppes and famous mountains, nomadic culture and common history, relics and traditions. Throughout this region we find petroglyphs, keregsur, steles, ruins and other monuments attesting to the mingling of peoples in the Central Asian steppe since prehistory. The territory of our own nation, Mongolia, has indeed been the centre several nomadic empires at various stages in history, established by different peoples of Central Asia sharing a similar cultural origin – Hunnu, Khitan, Turks, Uighurs, Kyrgyz and Mongols.

My name is Mousumi Chowdhury I am a female chau dancer—chau is a male-dominated form of traditional martial arts-based dance from the eastern reaches of the Indian subcontinent and, as such, there are many burdens that I bear on my shoulders.

I arrived in Hue City by the Perfume River (Sông Hương) on a rainy afternoon in September 2019 to spend about a month gathering materials and data related to the preservation of the Hue Imperial Complex. One of my friends was waiting for me at a local bar together with his Bach Ho (White Tiger) master, a man in his sixties wearing a black martial arts shirt. After greeting one another, we began our conversation by taking about Hue’s recent conservation projects and local landscapes, before my friend’s master touched upon the history and the heyday of Bach Ho martial arts (the 1960s to the early 2000s). Indeed, Vietnamese people have created their own martial arts to boost their health and protect their homeland against aggressive and more powerful foreign invaders for a few thousand years. As Van Dung highlight: “martial arts contributed glorious pages to the history, appeared as a proof for resolute spirit, inexhaustible struggle, fearless of death, difficulty or danger and as a creative mind of people” (2017, p. 27). The Vietnamese philosophy of martial arts is “the Truth—the Goodness—the Beauty”; it attempts to advance Vietnamese culture and characters by forging a sturdy body, enduring health, and a strong spirit that provides support in dealing with difficulties and hardship (Van Dung ., 2017, p. 28). Viet Nam has some of its own styles of martial arts, but due to being located at a crossroads of civilizations, various martial arts from China, Korea, and Japan have been brought into and mixed with native ones, including kung fu, karate, judo, aikido, and taekwondo (Van Dung , 2016, p. 69). With the tremendous growth of this industry, martial arts have become an integral part of sports and physical activity culture, conveying not only lifestyles but also educational value and entertainment (Ko ., 2010, p. 3).\nHue became one of the biggest centers of martial arts in Viet Nam because it was home to the Nguyen dynasty, the final feudal society of Viet Nam (1802–45). The Nguyen dynasty fought against local rivals and also stood against Western colonialism, particularly the French invasion (Odell and Castillo, 2008, p. 82). Therefore, the practice of martial arts was very much encouraged and was stimulated through the organization of a number of nationwide martial arts competitions to select the best talents in the country (Le, 2020). Several temples were constructed, at which the masters’ skills and teaching were honored by the carving of their names on the stone columns.\nThe Hue Association of Traditional Martial Arts confirms that there are around 15 types of martial art within Hue, including Viet Vo dao, Bach Ho, Nga My, Thien Muc Son, Thieu Bao, Nam Son, Hau Quyen dao, Thieu Lam Dai Tam, and Kinh Van An. Other Vietnamese martial arts had their origins elsewhere, as noted, in countries such as China, Japan, and Korea, but Bach Ho (a genuine Vietnamese martial art) remained one of the most prevalent types of martial art in Hue City. Unfortunately, the stature of Bach Ho is fading significantly in comparison with other martial arts. This study thus aims to explore the relevance of Bach Ho in contemporary contexts and the primary impediments to its transmission. It will then propose recommendations for safeguarding and promoting Bach Ho as intangible cultural heritage for future generations. These are the primary objectives behind the selection of Bach Ho as our research topic.\nTo conduct our study, we worked closely with representatives from the Association of Traditional Martial Arts of Thua Thien Hue and different groups from the martial arts. In

Dhamrai, the main center of metal casting in Bangladesh, is located about thirty-nine kilometers northwest of Dhaka, the capital city. A visitor to the quiet rural setting was once greeted by natural sounds and bustles of sounds, the clanging of metals, which made a wonderful rhythm of working melodies. This transpires the existence of metal crafts being an important part of Bengal’s rich artistic tradition that dates to before 2000 BCE on the Indian peninsula. History suggests that some of the greatest metal craft masterpieces of all times, made here by skilled artisans and sculptors, were magnificent in design, exclusivity of details, and workmanship. But over time, the cultural heritage, exceptionally rich in aesthetics and artistry, has fallen from its glory and only a few artisans are toiling to revive this millennium-old art form.

Chak-ka-yer is a Thai word similar in meaning to tug-of-war in western countries. It is one of the oldest folk team games in Thailand. Thai people across the country know chak-ka-yer, and many may have had some direct and indirect experience with this game, either as participants or observ-ers. Chak-ka-yer benefits Thai society in several ways. People use chak-ka-yer for fun, pleasure, recreation, and relaxation from their routine work. Chak-ka-yer is played between teams, groups, or communities to test their physical strength. The game does not focus on competition, team preparation, contest regulations, and championship, but rather on unity, friendship, morale, and incentive of communities. Chak-ka-yer as a game is related to thoughts, beliefs, customs, traditions, rituals, and values of the people in different areas. Chak-ka-yer is a high-level game of development and doesn’t focus on systematic contests; it has specific agency to respond to and has the team seriously trained and practiced to win the championship. Chak-ka-yer as a sport is left unmentioned in this article since it has become an international sport.

Dongjo Yoo, a renowned installation artist, focuses primarily on environmental projects, specifically projects related to water. His most notable work is the Water Performance Installation Project, an eleven-year project starting from 2014, involving eleven lakes and rivers in ten countries. Under the motto of “there is no ‘water’ in the presence of water, and there is ‘water’ in the absence of water,” the project has been a large success. To highlight the importance of the environment, Mr. Yoo is looking forward to expanding his project to areas along the Silk Roads where water is a scarce and valuable resource.

“A man in Pamir, from birth to death, is accompa- nied by all sorts of family and everyday rites and customs. In many traditions, including the prepa- ration and use of food, traces of deep geographical and climatic isolation are clearly visible.The Pamir highlanders who lived in closeness with their nature had a great culture, rich in traditions, cults, customs which created humane framework of actions in relation to wildlife. Cultural values and practices re- lated to caring for nature at the same time supported the life of the mountain peoples. This culture has become the main priority for the effective,reasonable and rational use of wildlife resources.Such behavior not only contributed to the survival of the mountain population in the most severe climatic conditions, but also became the main factor in the conservation of wild fauna and flora.

UNHCR works in 134 countries to protect and support 25.9 million refugees. Within this population is a vast, diverse and talented pool of artisans.\nWhenever refugees flee, they carry with them the traditions, skills, knowledge and craftsmanship that unite and define a people. From the expert leatherworking of the Tuareg in Burkina Faso to the fine embroidery of the Syrians in Lebanon, refugees long to sustain these artistic traditions and participate in the growing global artisan economy. There are opportunities for engagement. The artisan sector, behind the agricultural sector, is the second largest employer in the developing world. International trade in artisan crafts is now valued at over $36 billion per year, with 65% of handicraft exports coming from developing countries.1) This means that with the right support, refugee artisans can hold the keys to self-reliance in their own talented hands.

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.

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!