Rumah Angklung, with the slogan “When Culture Becomes a Pride,” works for the preservation and development of angklung (traditional Indonesian bamboo instrument) communities. By targeting different groups, level-based community classes are offered to many Indonesian people, but Rumah Angklung also tries to make stages for performing in terms of raising awareness.

Vietnam_Picture_Tugging Rituals and Games:Anh Keo co ngoi

The earliest mention of the pattala (pa'tala:) is in the Bago Kalyani Sima lithic inscription of A.D. 1479 enumerating the presents exchanged with the king of present day Sri Lanka. It was mentioned by Court official Twinthin Mingyi in 1798 as one of the six instruments of the anyein (non- dramatic dance and comedy) ensemble. F.A Neilly, author of a book on Thailand, wrote " The Thai xylophone is derived from the Myanmar xylophone which the Myanmar play exceedingly well". Thai Research Society Vol 69 Part 1-2 of January- July 1951 carried long article by USA Kent University School of Music Terry E Miller and Music Department of Shrinaken University researcher Jaran Chaichonperut. War between the two countries made cultural exchange of musical instruments. There is evidence to show that the xylophone was extant earlier in Myanmar than in Thailand.\nEarlier, softwood was used for the mallets. Now they are made of teak, padauk, cutch, yindai or pyinkado. The mallets are eight inches long with a soft knob of cotton, felt or velvet at the tip. The resonance box is usually made of teak and decorated with pieces of glass of various colors and gilt. Earlier the box constituted one body. Now it is made collapsible for easier transportation. Thought the slats are generally bamboo, there can also be brass or iron. The Myanmar pattala is tuned to the diatonic scale. However, Myanmar chau' pau' and hni pau' instead of being equivalent to international E and B notes are a semitone each Lower. The Myanmar pattala covers one octave below middle C and two octaves above thereby encompassing altogether three octaves. The Myanmar pattala is composed of the slats, the resonance box and the mallets. The beginner is trained to first play left and right strikers alternately in the "maun nin:" method of play. Then the student is trained to strike the mallets simultaneously using the "zoun" method. Traditionally, the player tearns to keep to the timing beats by playing the short music piece beginning "htan taya tei: shin" . They the player is taught the combined "htan", the combined "dun", the combined "djan" and the detached "djan".

The earliest mention of the pattala (pa'tala:) is in the Bago Kalyani Sima lithic inscription of A.D. 1479 enumerating the presents exchanged with the king of present day Sri Lanka. It was mentioned by Court official Twinthin Mingyi in 1798 as one of the six instruments of the anyein (non- dramatic dance and comedy) ensemble. F.A Neilly, author of a book on Thailand, wrote " The Thai xylophone is derived from the Myanmar xylophone which the Myanmar play exceedingly well". Thai Research Society Vol 69 Part 1-2 of January- July 1951 carried long article by USA Kent University School of Music Terry E Miller and Music Department of Shrinaken University researcher Jaran Chaichonperut. War between the two countries made cultural exchange of musical instruments. There is evidence to show that the xylophone was extant earlier in Myanmar than in Thailand.\nEarlier, softwood was used for the mallets. Now they are made of teak, padauk, cutch, yindai or pyinkado. The mallets are eight inches long with a soft knob of cotton, felt or velvet at the tip. The resonance box is usually made of teak and decorated with pieces of glass of various colors and gilt. Earlier the box constituted one body. Now it is made collapsible for easier transportation. Thought the slats are generally bamboo, there can also be brass or iron. The Myanmar pattala is tuned to the diatonic scale. However, Myanmar chau' pau' and hni pau' instead of being equivalent to international E and B notes are a semitone each Lower. The Myanmar pattala covers one octave below middle C and two octaves above thereby encompassing altogether three octaves. The Myanmar pattala is composed of the slats, the resonance box and the mallets. The beginner is trained to first play left and right strikers alternately in the "maun nin:" method of play. Then the student is trained to strike the mallets simultaneously using the "zoun" method. Traditionally, the player tearns to keep to the timing beats by playing the short music piece beginning "htan taya tei: shin" . They the player is taught the combined "htan", the combined "dun", the combined "djan" and the detached "djan".

DVD2_NEPAL'S HEREDITARY MUSICIAN CASTES\n\nThe four hereditary musician castes of Nepal are Damai, Gandharba, Kapali, and Badi. The most visible of these are the Damai and the Gandharba musicians. The Kapali are temple musicians and the Badi are drum makers. Damai are required to play for the goddess of the ruling class and also to play at all types of ceremonies and rites of passage, such as weddings and Bratabhandha. They perform in a group known as a panchai baajaa, which is composed of nine musicians playing seven different musical instruments representing the five universal elements of earth, water, fire, air, and sky, of which all matter and living things are composed. The tyamko represents earth, the damaha represents water, the jhurma represents fire, the dholaki represents air, and the narasingaa, sahane, and karnal represent the sky. Panchai baajaa music is believed to keep the elements in balance and harmony and to result in therapeutic musical healing. The Gandharba or Gaine caste musicians traditionally travel from village to village and door to door singing bhajan (hymns), songs from the great Hindu epics, and karkha (historical songs of heroes and bravery), but also bring news. They accompany themselves by playing saarangi.

ICH Video Production in the Asia-Pacific Region : Central Asia\n\nRapid urbanization and westernization are changing the environments in which intangible cultural heritage is rooted. The importance of documentation that traces the effect of social changes on intangible cultural heritage is being emphasized as a safeguarding measure. Quality video documentation is an important resource that enables the conservation and transmission of existing intangible cultural heritage and raises its visibility.\n\nVideo documentation is the best medium to record intangible cultural heritage in the most lifelike manner, using the latest technologies. It is also an effective tool for communicating with the public. However, conditions for video production in the Asia-Pacific remain poor, requiring extensive support for quality video documentation.\n\nICHCAP has been working to build the safeguarding capabilities of Member States and raise the visibility of intangible cultural heritage in the Asia-Pacific by supporting the true-to-life documentation of intangible cultural heritage as this heritage is practiced and cooperating with experts, communities, and NGOs in related fields.\n\nSince 2010, ICHCAP has hosted annual Central Asian sub-regional network meetings with Uzbekistan, Kazakhstan, Kyrgyzstan, Tajikistan, and Mongolia to support the ICH safeguarding activities of Central Asia. Through their collaboration, ICHCAP has supported projects involving collecting ICH information, producing ICH websites, and constructing ICH video archives.\n\nAt the Sixth Central Asia Sub-regional Network Meeting in Jeonju in 2015, ICHCAP, four Central Asian countries, and Mongolia adopted a second three-year cooperation project plan on producing ICH videos to enhance the visibility of ICH in Central Asia.\n\nICHCAP developed guidelines and training programs for the project and invited video and ICH experts from the participating countries, and held a workshop in November 2015. After the workshop, focal points for the project were designated in each country, and each focal point organization formed an expert meeting and a video production team to produce ICH videos.\n\nInterim reports were submitted to ICHCAP in February 2016, and the first preview screening was held in Dushanbe, Tajikistan, during the Seventh Central Asia Sub-regional Network Meeting in May 2016. Since then, each country has carried out the project according to the project plan. ICHCAP met with each country between October 2016 to February 2017 to check on the project progress.\n\nAfter the final preview screening during the Eighth Central Asia Sub-regional Network Meeting in Bishkek, Kyrgyzstan, in 2017, final editing process took place in each country, and fifty ICH videos were completed by October 2017.\n\nAll photos introduced on this page along with fifty ICH videos are from the exhibition 'Living Heritage: Wisdom of Life' held in the Republic of Kyrgyzstan and the Republic of Korea. Designed for introducing various ICH in the five countries, this exhibition shows photos on representative twenty elements in each country collected during the process of on-site survey and documentation for ICH Video Production Project in Central Asia by experts participated in the ICH video production project.\n\nICHCAP will continue its ICH documentation projects in the Asia-Pacific region for the next ten years by expanding the scope from Central Asia and Mongolia to Southeast Asia, Southwest Asia, and the Pacific.\n\n\nPartners\nMongolian National Commission for UNESCO • National Commission of the Kyrgyz Republic for UNESCO • National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • National Commission of the Republic of Uzbekistan for UNESCO • National Commission of the Republic of Tajikistan for UNESCO • Foundation for the Protection of Natural and Cultural Heritage Mongolia • National Committee for the Safeguarding of the Intangible Cultural Heritage under the National Commission of the Republic of Kazakhstan for UNESCO and ISESCO • School of Fine Art and Technical Design named after Abylkhan Kasteyev • State Institute of Arts and Culture of Uzbekistan • Tajik film • Tajikistan Research Institute of Culture Information • Korea Educational Broadcasting System • Asia Culture Center\n\nSupporters\nUNESCO Almaty and Tashkent Cluster Offices • Cultural Heritage Administration • Panasonic Korea • Turkish Airlines

Dá hai is an art form performed on the folk stage by Nùng people in the eastern districts of the northern border. In the 1960s and 1970s, Dá hai drama had a strong development and many groups performing this kind of drama appeared. Dá hai drama had turned into a Nùng style from a form of puppetry Mộc Thầu Hý, a popular art form at village fairs in Cao Bằng Dá hai drama performs ancient stories, such as Phạm Tải - Ngọc Hoa, Hoa Mộc Lan tòng quân (Hoa Mộc Lan joined the army), Hoa phù dung, Tống Chân - Cúc Hoa, Lương Sơn Bá - Chúc Anh Đài, etc. Dá hai has many tunes, depending on content, themes, and details of characters that performers use—Sai va páo (playful, excited), sli páo, pìn táo (lyrical, romantic), cù táo (sad and mourning). The nhị (two-string fiddle) is always played as accompaniment in Dá hai. On a larger stage, Dá hai drama includes the accompaniment of a small orchestra consisting of nhị bố (two-string fiddle with a bass sound), nhị mẹ (two-string fiddle with delicate sound), cymbal, bamboo flute, and small drum. This track has excerpts of characters who, despite broken love affair, should not to be too sad but hope for a better future.

This solemn piece belongs to the series of seven Nhạc pieces. The complete version consists of thirty-eight four-bar phrases. The lyrics are about parents’ inmost feelings and their reminders to the daughter. This musical piece is played by the cò (two string fiddle) and the kìm (moon-shaped lute). The kìm, a plucked string instrument, has two strings. It is made of wood and has a flat and round resonator. On the surface, the gauges are attached. It has a long neck with nine frets. The rest three frets are on the surface. The two silk or nylon strings are tuned at a perfect fifth interval. The players use the left hand to press the frets and the right hand to pluck the strings. The instrument can be plucked using a fingernail or a bamboo or plastic plectrum. The cò is a bow stringed instrument with two iron strings tuned to a fourth or a perfect fifth interval. The body of the instrument is cylindrical and the top surface is covered with snake skin. The neck is made of wood and does not have frets. The bow is strung with horsetail. The players use the left hand to press onto the neck to create pitch and the right hand to bow.

Benedictions\n\nMongolian well-wishing is a powerful expression of the miraculous capacity of words. It is one of the genres of Mongolian oral poetry that uses melodies. Briefly, benedictions (well-wishing) propitiate people’s future happiness and well-being through skilfully composed and recited poems. There are thousands of benedictions on various subjects. For instance there are benedictions recited while beating the sweat cloth of a saddle, while distilling milk vodka, while celebrating a birth, and while cutting an infant’s hair for the first time. Besides ancient benedictions, many contemporary benedictions are being kept at the ILL. These include benedictions for a new ger, weddings, a child’s first haircut, endowment practices, mare-milking ceremonies, foal-branding ceremonies, the People’s Revolution, and others for the military.

Folk Short Songs\n\nMongolian folk songs are divided in three different categories, such as long songs, short songs and the authors’ songs. Folk songs are shorter than other forms of expressions with average durations of one to five minutes, but there is a high volume of them. Thus, restoring, categorising, and digitising folk songs were the most time-consuming tasks compared to others. Within the framework of the project, just under forty-eight hours of songs were restored and digitised.

In 2015, ICHCAP with the National Commission of the Republic of Uzbekistan for UNESCO and the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan released the CD collection Melodies from Uzbekistan as part of its cooperation project to restore and digitize analogue resources on ICH.\n\nThis selection of audio resources are aged audio recordings stored at the Fine Arts Institute of the Academy of Sciences that have been restored and converted into a format suitable for storage and playback in media used today. The audio tracks in the collection consist of folk music recorded from field research conducted in Uzbekistan and border regions from the 1950s to the 1980s as well as studio recordings made from the 1930s to the 1970s. The eight CDs contain Uzbek songs related to work, animal rearing, rituals, and other important parts of day-to-day life in the region; instrumental music featuring various traditional Uzbek musical instruments, such as the dutor and g'ajir nay; and important Islamic oral traditions, such as maqoms and dostons.\n\nAlthough the traditional music of Central Asia may be unfamiliar to listeners from other parts of the world, the CDs come with information booklets in Uzbek, English, and Korean to provide an engaging experience for people from outside the region.\nThe selection represents the diverse and rich musical traditions of Uzbekistan and will be invaluable resources in the field of ICH education and promotion.

Sounds that Run in the Vast Grasslands of Mongolia_Oral Traditions and Performing Arts in Mongolia\n\nSince the early 1950s, the Institute of Language and Literature at the Academy of Science (ILL) has been sending survey teams one to three times a year to research and gather data on oral literature and local dialectics. These activities set the groundwork for officially establishing a new archive with written documents and magnetic audio tapes that could be used for research purposes and be maintained. Preserved on magnetic tapes are languages and dialects that have gone extinct, have lost their distinctiveness, or have been adsorbed into other languages or dialects.\n\nHowever, most of the magnetic tapes being kept at the ILL are more than sixty years old, and the expiration date on many tapes has already lapsed. Also, improper storage conditions have caused some tapes to dry out, cling to one another, or fracture. For these reason, it would be hard to transmit to the next generation. Accordingly, since 2008, efforts have been made towards restoring and digitizing superannuated magnetic tapes within the internal capability and capacity of the ILL. The lack of training, finance, and proper tools and technical equipment has, nevertheless, created several obstacles and the digitizing results have not been very successful.\n\nAt this crucial state, the ILL introduced a cooperative request to the Foundation for the Protection of Natural and Cultural Heritage (FPNCH), and the FPNCH proposed that ICHCAP continue the joint project and take measures for restoring and digitizing superannuated magnetic tapes and distributing and disseminating the data among the general public. According to the above decision, the FPNCH and ICHCAP implemented the Joint Cooperation Project of Safeguarding Intangible Cultural Heritage by Using Information Technology from October 2011 to April 2012.\n\nAs the first stage of the project, the Expert Meeting for Safeguarding ICH by Using Information Technology was held in the Republic of Korea to exchange information with experts for digitizing and restoring the analogue data. The experts of Mongolian National Public Radio, the ILL, and the FPNCH started the project after sharing restoration and digitization knowledge with the Munhwa Broadcasting Corporation (MBC) of Korea, the National Archives of Korea, and the Korea Film Council.\n\nAs the main outcome of the project, a total of 715 hours of superannuated magnetic tapes including epics, folk tales, tales accompanied by the morin khuur, traditional arts, khuumei, chor, long and short folksongs, and traditional customs were restored, digitized, and categorized. Among them, 128 audio clips were selected and reproduced in a ten-CD collection called Sounds from the Mongolian Grasslands. The collection also includes a twenty-page handbook in English or Korean. Through this project, the general public’s, involved organizations’, and domestic and international experts’ awareness about Mongolian ICH increased, and the archive and music contents of regional ICH were strengthened.

Based on the ICHCAP Field Survey on Intangible Cultural Heritage Safeguarding Efforts in some South-East Asian countries (2009-2012), this summary provides a brief overview on the ICH situation in Cambodia, Thailand, Viet Nam, Indonesia, the Philippines, Laos, and Myanmar . The summary focuses mainly on ICH safeguarding systems, safeguarding policies, and ICH inventories as well as on pending issues and the urgent safeguarding needs of these countries. Moreover, information on the main entities in charge of ICH safeguarding and opinions of each country on the issue of community involvement are provided. To give a quick overview these countries’ participation in ICH safeguarding at the international level, some additional information related to UNESCO is specified as well. Apart from the main topic, information on the situation of intellectual property related to ICH safeguarding in each country is included. This survey report offers a large sample of the diverse ICH situations in South-East Asian countries. Each country has a different background on the issue of intangible heritage. \n\nFor instance, Indonesia is the only country participating in the field survey that has a programme in the Register of Best Practices. Viet Nam developed ICH-related definitions in its Law on Cultural Heritage; whereas the Philippines has a strong legislative background and solid network of public structures protecting cultural heritage. Cambodia recognises the link between cultural heritage and development of national economy and runs relevant activities on promoting traditional culture while maximizing its economic benefits to the country. For Laos, training local artists rather than researchers in ICH safeguarding, including IPR, is deemed to be essential, as the artists are the important resources that master their arts. Among the South-East Asian participants, Thailand and Myanmar are the newest to approach ICH safeguarding. Although all countries are concerned about the threats ICH faces, most countries participating in the survey haven’t defined ICH and haven’t established national ICH lists. Meanwhile, drawing up an inventory of traditional cultural expressions in different forms—register, cultural map, or database—is a common activity in these countries. Moreover, each country expresses a high degree of motivation and encouragement for safeguarding ICH, sharing experiences, and promoting international cooperation.\n\n- Ratified the ICH Convention in 2005; conducted survey in 2009 and updated in 2015.\n- As of March 2018, has 11 ICH elements on the RL, 1 element on the USL, and 2 accredited NGOs.\n

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 Vol 4 is 'ICH AND ORAL TRADITIONS'.