The Azerbaijani Carpet Makers Union (ACMU), founded in January 2010, is a voluntary self-governmental public association of citizens rallied to support Azerbaijani carpet weaving.The ACMU seeks to promote a revival of the powerful spiritual heritage of carpets, the national traditions of the Azerbaijani people, a consolidation of the creative potential of seen figures of society and culture, support for talented children and youth, and creative carpet dynasties. The purpose of the ACMU is also to convey objective information about the unique national culture, rich historical heritage, and diversity of the carpet art of Azerbaijan to the international community.

The Democratic People’s Republic of Korea (DPRK) ratified the UNESCO 2003 Convention for the Safeguarding of the Intangible Cultural Heritage Convention in 2008. Since then, the country has nominated three elements to the Convention’s Representative List, a mechanism of the Convention designed to draw attention to the importance of living heritage in general, on an international level. The first two elements listed by the DPRK were Arirang Folk Singing in 2014 and Traditional Kimchi-making in 2015, both of which were also listed separately by the Republic of Korea (ROK). Last year, when both countries listed an element jointly for the first time—traditional Korean wrestling, ssirum (also spelled ssireum) —it marked an historic moment in the cultural relations between the DPRK and the ROK and allowed culture to play a bridging role currently inaccessible through most other channels of cooperation.

The Azerbaijani Carpet Makers Union (ACMU), founded in January 2010, is a voluntary self-governmental public association of citizens rallied to support Azerbaijani carpet weaving. The ACMU seeks to promote a revival of the powerful spiritual heritage of carpets, the national traditions of the Azerbaijani people, a consolidation of the creative potential of seen figures of society and culture, support for talented children and youth, and creative carpet dynasties. The purpose of the ACMU is also to convey objective information about the unique national culture, rich historical heritage, and diversity of the carpet art of Azerbaijan to the international community.

When thinking of practices and expressions of intangible cultural heritage (ICH), traditional crafts making is perhaps the most tangible manifestation. However, when recognizing the potential of crafts making in empowering the individual, it is worth first looking beyond the physical craft objects to the processes behind them. Actually, to their very genesis. The act of making is ingrained in the beginnings of our human experience. It is essential to our nature and offers a deeper meaning and understanding of our humanity and identity. Furniture maker Peter Korn describes how craft making can be a holistic experience with the things around us, can invite a sense of meditation and self-transformation.1) As a maker, the individual is in control, the knowledge and skills are within you, and you can independently take ownership over your own development and production. Crafts making can as such be a liberating sensation and at the same time a meaningful bond or lineage to your geographical place, identity, culture and heritage. At its very roots, crafts making offers dignified, meaningful opportunities, the chance to do a job well done and make a product of quality in a world of disposable, low quality objects.

Ms Suzanne Ogge, Heritage Specialist and ICH Consultant/ Accredited trainer for the UNESCO Global Capacity-building Program in the Asia Pacific Region. \nThe Democratic People’s Republic of Korea (DPRK) ratified the UNESCO 2003 Convention for the Safeguarding of the Intangible Cultural Heritage Convention (hereon ‘the 2003 Convention) in 2008. Since then, the country has nominated three elements to the Convention’s Representative List, which is aimed at drawing attention to the importance of living heritage in general, both within the nominating country, and on an international level. As most of you would be aware, State Parties to the Convention may prepare nomination files for the purpose of listing a living tradition (also referred to as ICH) and in doing so, contribute to raising awareness both nationally and internationally about the importance not only of the element inscribed on the list, but of intangible heritage in general.

Countries in the Asia-Pacific region abound in a wealth of cultural expressions, but these expressions are not often recognized as skills that may be used to revitalize communities. ICH safeguarding needs to look beyond research and documentation, building databases on art forms, and creating awareness through one-off festivals or made-up landscapes where the artists and crafts persons are uprooted from their natural environment to engage in demonstration. The paper shares examples from an initiative in India that emphasizes the need for investing in communities to revitalize their traditional skills and promote community-based creative enterprises, including cultural tourism to safeguard ICH. The Art for Life (AFL) initiative of banglanatak dot com, a social enterprise headquartered at Kolkata, India, aims at fostering an alternative pathway for development using cultural heritage as concrete means for improving people’s livelihoods and empowering local communities. Around twelve languishing folk art forms have been revitalized. The initiative has led to improved income and quality of life for 5,000 traditional artists. Non-monetized outcomes include improved education of children, improved health, and better access to sanitation. Capacity\nbuilding of the ICH practitioners, documentation, and dissemination, heritage education and awareness building, and promotion of grassroots creative enterprise have been the critical components of the safeguarding process.

This publication contains papers from the 2021 World Intangible Cultural Heritage Forum held online for three days, from September 29 to October 1, 2021. The event was hosted by the National Intangible Heritage Center and organized by ICHCAP.\n\nThe forum was held under the theme of “Rediscovering Intangible Cultural Heritage in the Era of Convergence and Creativity” to re-examine the creative value of intangible cultural heritage and present the possibilities by examining examples of innovation and value creation through intangible cultural heritage.

Session 1. What effects has the 2003 Convention had in the Asia-Pacific region?\n\nChairperson Professor Noriko Aikawa opened the conference by welcoming all of the participants. She explained the topic of the first session and introduced the first two speakers: Dr. Tim Curtis and Professor Amareswar Galla. She then invited the first presenter, Dr. Curtis, to give his presentation. Dr. Curtis’s presentation provided data on where ICHCAP stands and what has been accomplished so far. ICHCAP is getting close to including the entire Asia-Pacific region. Dr. Curtis’s data showed that this region is particularly active, representing almost half of the listings worldwide. Dr. Curtis argued that the unprecedented rapid\nincrease in popularity ICHCAP has experienced means that it has responded to a need. Dr. Curtis’s data showed that ICHCAP has been successful in raising awareness. However, he argued that while awareness is necessary for progress, it is not sufficient. He explained that people may be aware of the need to safeguard ICH but it is difficult to measure how successful ICHCAP has been in actually safeguarding ICH.

With a history of exclusion and caste-based discrimination, the Devipujaks (worshippers of the Mother Goddess) have come a long way and carved out an identity of their own through the creation of the Kalamkari(hand-painted) tradition called Mata ni Pachhedi. A community of painters, hand printers, and dyers, settled in a small urban slum in Vasna, Ahmedabad, are struggling to sustain themselves by keeping alive this age-old art. This article attempts to capture the artform Mata ni Pachhedi and how the community is working on sustaining the textile tradition despite facing numerous challenges.

Embroidery is an ancient decorative and applied art of the Tajiks that is used for decorating dresses and homes. In the Tajik language, embroidery is gulduzi, which is understood as the process of using colorful threads to sew ornaments, flower images, and symbolic drawings on cotton or silk fabrics. Tajik embroidery practitioners are women. Embroidery art masters sew women’s shirts, men’s and women’s national caps, pillows, bedspreads, headscarves, towels, curtains, cradle coverlets, and wall decorations, known locally as suzani.

Folkland, International Centre for Folklore and Culture is an institution that was first registered on December 20, 1989 under the Societies Registration Act of 1860, vide No. 406/89. Over the last 16 years, it has passed through various stages of growth, especially in the fields of performance, production, documentation, and research, besides the preservation of folk art and culture.Since its inception in 1989, Folkland has passed through various phases of growth into a cultural organization with a global presence. As stated above, Folkland has delved deep into the fields of stage performance, production, documentation, and research, besides the preservation of folk art and culture. It has strived hard and treads the untrodden path with a clear motto of preservation and inculcation of old folk and cultural values in our society. Folkland has a veritable collection of folk songs, folk art forms, riddles, fables, myths, etc. that are on the verge of extinction. This collection has been recorded and archived well for scholastic endeavors and posterity. As such, Folkland defines itself as follows

Folkland, International Centre for Folklore and Culture is an institution that was first registered on December 20, 1989 under the Societies Registration Act of 1860, vide No. 406/89. Over the last 16 years, it has passed through various stages of growth, especially in the fields of performance, production, documentation, and research, besides the preservation of folk art and culture.