Skills of preparing a kind of dish with to-mato, anion, mint, pepper, yogurt, cilantro and some oil.

Hoen-tey is a special Haa Valley dish that is usually prepared during Lomba celebrations (indigenous New Year), which are held on the 29th day of the 10th month. Normally, the ingredients for Hoen-tey are prepared and cooked on the evening of the 28th day. When Hoen-tey needs to be made in large quantities, it is prepared either on the 26th, 27th or 28th day, and on the 29th day it is cooked. Long ago, Hoen-tey was only made on Lomba or specially to celebrate Lomba. Nowadays, however, it is prepared all year round. To prepare Hoen-tey, you need the following basic ingredients.\n● Buckwheat flour \n● A bunch of beet leaves\n● Turnips\n● Local butter\n● Fermented local cheese\n● Ginger\n● Clove of garlic\n● Wild black pepper\n● Chili powder\n● Walnut (optional)\n● A few stalks of green onion\n● Salt

Tukhum barak is an original dish which is exceptionally prepared in Khorazm region of Uzbekistan. It is one of the ancient dishes of Uzbek cuisine. Nowadays it can be met only in Khorazm, Bukhara and Khiva.For preparation of tukhum barak, the dough is mixed in milk or in the egg, when it is dissolved and spread, rounded bits are cut off. Each piecse of dough is stacked by folding them twice, and crescent is made of collars without sticking to the edge. Theningredients are made of egg. For this purpose, sliced onion is fried in melted butter and then cooled in the air. After that egg, salt and pepper are added and mixed. One spoonful of this solution is taken, poured into crescent dough paste, and put into the boiling salty water. Once tukhum baraksnrise to the surface of water, they are boiledtwo-three more minutes and sieved, put to the Khorezm plate called badiya and served with cream.

Tukhum barak is an original dish which is exceptionally prepared in Khorazm region of Uzbekistan. It is one of the ancient dishes of Uzbek cuisine. Nowadays it can be met only in Khorazm, Bukhara and Khiva.For preparation of tukhum barak, the dough is mixed in milk or in the egg, when it is dissolved and spread, rounded bits are cut off. Each piecse of dough is stacked by folding them twice, and crescent is made of collars without sticking to the edge. Theningredients are made of egg. For this purpose, sliced onion is fried in melted butter and then cooled in the air. After that egg, salt and pepper are added and mixed. One spoonful of this solution is taken, poured into crescent dough paste, and put into the boiling salty water. Once tukhum baraksnrise to the surface of water, they are boiledtwo-three more minutes and sieved, put to the Khorezm plate called badiya and served with cream.

ICHCAP and the Vanuatu Cultural Center organized the fourth sub-regional networking meeting in collaboration with the UNESCO Apia Office. Representatives from the collaborating organizations as well as from six Pacific countries—Fiji, Federated States of Micronesia, Palau, Papua New Guinea, Tonga, and Vanuatu—attended the meeting in Port Vila, Vanuatu, in April 2013. This publication includes presentation materials as well as meeting summaries to provide information to promote international cooperation among Pacific experts and institutions in the ICH safeguarding field.

The word “jewelry” brings to mind something shiny or glamourous that makes people more beautiful. Jewelry can take the form of a pretty-looking hairband in a high-street shop, rings that a couple exchange as a symbol of their promise to each other, or an item that helps people stand out in smart clothes. \n\nBeyond aesthetic functions, jewelry can also have shamanistic meanings, such as the seashell masks of ancient times. This section introduces various meanings through ornaments from the Republic of Korea, Kazakhstan, India, and Fiji.

Kathakali (lit. story- play) is a highly sophisticated and stylized semi-classical dance drama prevalent all over Kerala. It evolved amalgamating features from all folk and classical performing art forms of Kerala. \nKathakali as a performing art evolved from Ramanattam. The King of Kottarakkara adapted eight episodes from the Ramayana as Ramanattam. However, in the 17th century, the King of Vettathu Nadu modified Ramanattam to develop a classical dance-drama, the Kathakali.\nKathakali derives its themes from the Indian epics, the Ramayana, the Mahabharata and the Bhagavata Purana. The language used for the songs in Kathakali is a mixture of Malayalam and Sanskrit (manipravalam). For theatric communication, the actor uses dance movements, a codified language of gestures and facial expressions. Kathakali displays great dexterity and potential for the actor to show his histrionic and interpretative skills through resorting to an elaborate method of acting.\nThe performance of Kathakali follows a particular sequence. At dusk, the percussionists play their instruments to announce the event (keli). The traditional lamp is lit in front of the performing area (vilakku veppu). The horizontal drum is played to signal the commencement (arangu keli or suddha manddalam), and singers recite the invocation (sloka). \nTwo performers dance a ritual invocation behind the curtain, salute the deities. \nAnother prayer dance is performed in front of the curtain, followed by the ensemble of the drums (chenda, maddalam, chengila, elathalam). The actual story (katha) begins only after these preliminaries. \nIn Kathakali, the make-up and costume represent different traits of character. The colours are symbolic; green represents satwik (pious and virtuous characters); red patch on a green face to represent rajasi’(valorous characters); and a thadi (beard) is added to represents tamasic (evil traits of a character). Elaborate costumes and intricate face make-up In Kathakali is done to mask the human face and invest it with super-human characteristics. \nKathakali has transformed over the recent years from all-night performances in temples and other sites, to three-hour presentations in contemporary settings. The plays have become abridged to suit the tastes of a new audience.

In the fall of 2013, ICHCAP convened an international conference celebrating the tenth anniversary of the Convention for the Safeguarding Intangible Cultural Heritage. Held in Gwangju, this conference aimed at reflecting on the ten-year implementation of the Convention and its achievements as well as searching to develop future tasks. Under the title of “Reflection on the Efforts to Safeguard ICH and Prospects for the Future”, this conference provided a useful opportunity to review the effects and outcomes of the ICH Convention on many countries in the Asia-Pacific region and to share theoretical discussions as well as practical experiences with a panel of experts and various stakeholders dedicated to safeguarding ICH. This book includes the presentation papers and the summary of discussion of the above conference.