Uzbek puppetry is considered to be a traditional art genre, which evolved in the form of an ancient traditional theatre of people.A puppet show, which combined traditional as well as contemporary ideas, was staged together with folk pantomime dances, such as “Otoyin” (“The game on wooden horse”), “Sherboz” (“The tamer of tiger”), under accompaniment of music (surnay, karnay and naghora or surnay and doira).As a distinct direction of traditional folk performance art Uzbek puppet performance has its own traditions.Notably, puppetry in Surkhandarya was called as “Suvkhotun”, in Khoresm – “Ashshadaroz”, “Maskharaboz” or Polvon”. Folk puppeteers use “qolqoghirchoq” (puppet played with hands or gloves), “ipqoghirchoq” (puppet-marionette), “maydaqoghirchoq) (small puppet) or “kata qoghirchoq” (big puppet).

Uzbek puppetry is considered to be a traditional art genre, which evolved in the form of an ancient traditional theatre of people.A puppet show, which combined traditional as well as contemporary ideas, was staged together with folk pantomime dances, such as “Otoyin” (“The game on wooden horse”), “Sherboz” (“The tamer of tiger”), under accompaniment of music (surnay, karnay and naghora or surnay and doira).As a distinct direction of traditional folk performance art Uzbek puppet performance has its own traditions.Notably, puppetry in Surkhandarya was called as “Suvkhotun”, in Khoresm – “Ashshadaroz”, “Maskharaboz” or Polvon”. Folk puppeteers use “qolqoghirchoq” (puppet played with hands or gloves), “ipqoghirchoq” (puppet-marionette), “maydaqoghirchoq) (small puppet) or “kata qoghirchoq” (big puppet).

Uzbek puppetry is considered to be a traditional art genre, which evolved in the form of an ancient traditional theatre of people.A puppet show, which combined traditional as well as contemporary ideas, was staged together with folk pantomime dances, such as “Otoyin” (“The game on wooden horse”), “Sherboz” (“The tamer of tiger”), under accompaniment of music (surnay, karnay and naghora or surnay and doira).As a distinct direction of traditional folk performance art Uzbek puppet performance has its own traditions.Notably, puppetry in Surkhandarya was called as “Suvkhotun”, in Khoresm – “Ashshadaroz”, “Maskharaboz” or Polvon”. Folk puppeteers use “qolqoghirchoq” (puppet played with hands or gloves), “ipqoghirchoq” (puppet-marionette), “maydaqoghirchoq) (small puppet) or “kata qoghirchoq” (big puppet).

Puppet making is an ancient type of folk applied art. This type of art was evolved as a result of human’s relationship with the nature. Initial puppets were animalshapednand made of clay. They became more complicated step by step. Central Asian people mainly occupied with agriculture and cattle-raising and their art was associated with their lifestyle. Uzbek people have always loved children. Children always need dolls and puppets. Such puppets as sheep, lamb, duck, geese, roosters, fish, shell whistled and others were among them. These puppets bring up children.

Mughni (26), a recent graduate, is anxious about his future and feels trapped in endless worries. To calm his mind and soul, which are full of anxiety after completing his final assignment, he initially chooses to practice yoga independently. However, not satisfied with that, in mid-July 2024, Mughni participated in a Meditation program at Vippasana Dharma Java in Bogor, West Java. Although the program is scheduled for ten days, he managed to complete only five days. After returning to Yogyakarta, he continues searching for answers and meets Pak Udrek, a puppeteer and Javanese cultural practitioner who introduces him to Tapa Brata—a traditional Javanese meditation practice. Through wayang characters' stories, depicting the characters' struggles and meditations, Mughni begins to find the inner peace he had lost and learns the deep meaning of true tranquility offered by Javanese wisdom.

ICH Courier is the quarterly magazine on ICH in the Asia-Pacific region issued by ICHCAP since 2009. Every issue has its own theme under the title of the Windows to ICH, and the theme of the 1st Vol is 'GODDESSES FROM ASIA & THE PACIFIC'.

This report includes presentation papers and a discussion summary of the three sessions that took place during the conference. The first chapter, “What Is the Significance of the 2003 Convention,” includes papers on the historical meaning and current situation of the Convention. The second chapter, “How to Safeguard the Value of ICH,” reviews measures on how ICH can promote cultural diversity, sustainable development of humanity, and social development in developing countries. The last chapter, “How to Promote Better ICH for Sustainable Development,” includes country reports that outline the efforts each participating country has taken to promote and use ICH.

ICHCAP published a book in collaboration with banglanatak dot com, an UNESCO accredited NGO, about ICH NGOs’ contribution to sustainable development. The 29 NGOs’ story showcase us how intangible cultural heritage can drive, enable, and guarantee achieving SDGs along each of its three dimensions –the economic, social, and environment-underpinned by peace and security as fundamental prerequisites for sustainable development.\n\n

ICHCAP published the book Living Heritage Series, Water: Interconnectivity between Intangible Cultural Heritage and Science in collaboration with the i-WSSM.\n\nThe subject of this publication is water. This book was made with contributions of nine authors with stories about ‘water management’ and ‘water and culture’ of the Asia Pacific region. The objective of the publication is to expand the boundary or interface of water centering on Sustainable Development Goals (SDGs) 6, Clean Water and Sanitation.