Simple in design but rich in cultural significance, the Lakadou is a traditional musical instrument made entirely from bamboo, found in various rural communities of Timor-Leste. Often carved from a single stalk, it stands as a testament to the ingenuity of ancestral craftsmanship—an instrument that produces sound not with strings or metal, but with tensioned strips of its own body.\n\nThe process of making a Lakadou begins with selecting the right kind of bamboo—neither too young nor too old—so that it is flexible yet strong. Using only a knife or a small carving tool, the outer layer of the bamboo is partially sliced into thin, horizontal strips along the stalk, which remain attached at both ends. These strips act as the instrument’s “strings.” Small wooden pegs or bridges are then inserted beneath them to lift the strips slightly, allowing them to vibrate when plucked.\n\nWhen played, the Lakadou emits a warm, buzzing resonance that can be heard clearly in quiet, open-air settings. The tones are soft yet sharp, melodic yet earthy—reflecting both the material and the environment from which it is made. Each Lakadou has its own pitch and personality, depending on the size of the bamboo and the placement of the tuning pegs.\n\nTraditionally, the Lakadou was played during rituals, agricultural festivals, and informal gatherings. It could accompany dance, storytelling, or simply be enjoyed as a solo instrument under the shade of a tree. It was sometimes played to express emotions—joy, longing, or sorrow—or to pass the time during communal labor in the fields.\n\nWhat makes the Lakadou especially significant is its status as a self-contained instrument. It does not require any additional materials beyond the bamboo itself—no strings, no nails, no external fasteners—just natural design and human skill. This reflects a traditional ethos of sustainability and resourcefulness, values still highly regarded in rural Timorese life.\n\nWhile the instrument is still known in some communities today, its presence is fading. Younger generations are more familiar with modern instruments, and the skill of crafting Lakadou is no longer widely practiced or passed down. In some places, only a handful of elders remember how to make and play it, and the sound of the Lakadou has become rare in daily village life.\n\nEfforts to preserve the Lakadou are growing, however. Cultural festivals, school workshops, and local storytelling events have begun reintroducing the instrument as a piece of Timor-Leste’s musical heritage. Some artisans are even experimenting with new forms, adapting traditional techniques to contemporary performances.\n\nAs a musical tool, the Lakadou is humble. But as an expression of cultural identity, it speaks volumes. In its structure, sound, and spirit, it tells the story of a people who shaped their art from the land around them—and who, with care, may yet continue to do so for generations to come.

Of the 17 Sustainable Development Goals (SDGs) of the UN 2030 Agenda for Sustainable Development, one in particular, SDG 14 Life Below Water, encompasses the conservation and sustainable use of “the oceans, seas and marine resources for sustainable development.” To this end, UNESCO Intergovernmental Oceanographic Commission (IOC) laid the foundation for the UN Decade of Ocean Science for Sustainable Development (2021-30) (hereafter Decade), which is about to start its Implementation Phase. The Decade is a vital opportunity to improve focus on the ocean’s cultural heritage including intangible/indigenous/traditional culture that can be safeguarded in order to reach a sustainable future in the face of modernisation or climate change. Networks created by stakeholders focusing on Maritime Living Heritage ensure that cultural heritage can be acknowledged as a medium for engaging the public in addressing the sustainability of our coasts, seas, and oceans.

Wiwitan, a traditional ritual that is closely associated with Javanese culture, especially the farming community. This ritual uses the media of various foods as a symbol of hope to welcome the harvest period. It seems simple, but in fact the condition will have meaning. The farmer and his family will prepare various foods, then bring them to the rice fields to be harvested, then pray and eat them together. A ritual which its sustainability is threatened due to the impact of land conversion.

Examining human ethics revealed in the traditional use of natural resources and human-nature interactions. Introducing the environmental ethics concept of ‘creative conservation’, sharing examples from Japan and Australia in the use of intangible cultural heritage for environmental sustainability.

The region of Bay of Bengal has been an important part of maritime activities, including trading and fisheries from the past to the present. Though the number remains unaccounted for in most countries, but amidst the number of fishermen, there is a substantial number of fisherwomen, who have been contributing through generations in various ways. Lopamudra Maitra Bajpai attempted to look into the contribution of the fisherwomen community around the western fringes of the Bay of Bengal, especially focusing on the countries of Bangladesh, India and Sri Lanka and the vital contributions of these womenfolk.

Alisher Ikramov reviews information collected through a survey funded by ICHCAP. While his work primarily reviews ICH festivals, he is also able to gain insights into ways that networks can promote ICH along the Silk Roads. Looking at the importance of local communities and the popularity of such festivals locally, there is concern about a lack of a network to encourage larger tourist attendance. However, there are feelings that festivals do not authentically represent local traditions and products. Therefore, this could lead to an undesirable level of commoditization and as a result lower the quality of the event.

In Fiji, a boat is a central cultural element for the indigenous and local people. The traditional boat building skills and practices need to be attended in the light of safeguarding intangible cultural heritage. The situation of the significant reduction of the boatbuilding community not only poses a threat to the boatbuilding community but also to the marine environment as well. By revitalizing the traditional boat building skills and community, the Pacific Blue Foundation hopes to solve environmental sustainability and marine pollution in Fiji while promoting knowledge of intangible cultural heritage.

Intangible cultural heritage transmitted and accumulated over generations allow human societies to interact with nature, and contribute to environmental sustainability. Examining the central role of local communities in such contribution, presenting future tasks and direction for action.

Anna Yau talks about the roles of sustainability program for reviving landscape and community. This project is initiated by a local community named Lai Chi Wo which has been depopulated in the 1970s. It facilitated Lai Chi Wo to revitalize its living Socio-Economical and Associative Landscape with living heritage approach.\n\nANNA W Y YAU is a Project Manager for HSBC Rural Sustainability Programme at the university of Hong Kong. He has BA (Japanese Studies), MA (Cultural Management) from the Chinese University of Hong Kong, and PgDip in Cultural Heritage Management from the University of Hong Kong. She is an accredited heritage conservationist (HKICON), Project Management Professional (PMI), as well as a member of the Documentation and Conservation of Buildings, Sites and Neighbourhoods of the Modern Movement (Docomomo) Hong Kong Chapter.