Lkhon khol of Wat Svay Andet continues today because of its significance in the community’s beliefs and identity, but over the last decade it has been experiencing difficulty. Despite of having some support from the state, NGOs, and the community itself, the troop has faced some challenges, such as the lack of dance costumes, ornaments, masks, stages, and musical instruments. Furthermore, the number of performers has been gradually decreasing due to aging and a lack of natural talent, and the younger generations show little interest since the performances generate no income and they are busy with their studies or working.\nTraditionally, the lkhon khol is transmitted orally within a family and through informal, master-apprentice relationships. Community leaders, masters, and the temple patriarch also encourage younger generations to learn lkhon khol skills to ensure that the art form remains part of the community’s living cultural practice.\nApprentices have historically learned their preferential skills at their masters’ house at night, a time they were free from their agriculture work. While the same practice continues, recently amateurs are learning their art skills in groups during the day on Sundays or occasionally Thursday at the temple compound.

Ali Haleyalur of Lamotrek Island, Yap State, Federated States of Micronesia, is one of the few remaining people with the knowledge and skills to journey long distances on the open ocean in traditional voyaging canoes without using modern instruments. He and the small community of palu (Carolinian master navigators) alive today learned this wayfinding knowledge through years of apprenticeship with the master navigators throughout the Caroline Islands of Micronesia. Customarily, the knowledge and practices required to navigate over what can be treacherous waters have been passed along to only a few select descendants of ancestral lineages that have protected the valuable practice for thousands of years.\nNavigation between the small inhabited islands continues to be a valuable practice that helps islanders sustain clan ties and obtain resources for survival. Traditional navigation is also seen as a vital form of intangible cultural heritage since it is a distinct facet of many Pacific Islander cultures and identities. Unfortunately, however, the knowledge and practices associated with traditional navigation are disappearing rapidly mainly because modern technologies and lifestyles make it much more difficult for palu to find young apprentices. With only a handful of master navigators still alive today, it is crucial to find new ways to safeguard this precious cultural practice.

Prabartana is a social enterprise, working since 1986 with the artisans related to handloom for market linkage and revival of Tangail Taant shaari. The organisation provides training to the weavers with improved technical enhancement like documentation of pattern in computer instead of manual style of Jacquard patter design. As a safeguarding action they are involved in artisans’ exhibition and workshop for cultural exchange, audio-visual documentations and publications of books, social media based promotions and audience development with the use of website, webpage, newspaper articles and festival relevant brochures. Resource mobilisation is done through individual investments and collaborations with Government organisations for tourism and craft. The initiatives have helped ICH practitioners to acquire skills and enhance livelihood opportunities. Most of the beneficiaries are women from the marginalized communities living in the remote villages. They are now working for the revival several near lost performing folk art forms like Banbibir Pot (Sundarban), Chunaibibir Gaan (Chittagong), Song Jatra (Tangail), Meyeli Geet (Tangail, Kishorganj & Mymensingh) and Alkap (Chapai). They are also working on the crafts and musical instruments of Monipuri community.

Vietnamese Institute for Musicology, formerly the Musicology Division of the Culture and Arts Bureau, was established in 1950. Undergoing many changes in organization structure and belonged directly to such different organizations as Music and Dancing Research Division, Department of Arts, Music and Dancing Bureau, Arts Institute, it was, up to 1976, officially separated to an independent institute with the name of Vietnam Musicology Institute. Vietnamese Institute for Musicology (VIM) at present is an institution belonging to Hanoi National Conservatory of Music under the Ministry of Culture and Information. nWith only 20 staffs in 1976, Vietnamese Institute for Musicology has increasingly developed its staff with the expansion in various activities. Total staff is now up to 50 people of different professional fields at 6 Divisions. They are Collection and Research Division, Scientific Information Division, Technology Division, Showroom for Vietnamese traditional musical instruments, Material and Publication Division, and Administration Division. nWith its specialization, Vietnamese Institute for Musicology is mainly responsible for collection, preservation, research and dissemination of Vietnamese traditional music within the nation and to the World.

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The Tai communities live in Son La, Lai Chau, Yen Bai and Dien Bien provinces in the Northwest of Viet Nam. Kin Pang Then is one of Then's important rituals of the Tai people. This is the occasion where the Then master and his followers perform a thanksgiving ritual for the Then god. The ritual includes songs and music that symbolically express the journey of the Then Master to travel to the other world to look for the lost souls of the disciples/clients and to call the souls coming back to their bodies. The film is about the destined ritual Master and his ritual performance with Xoe dance for healing, good luck and well being for the local people. The film demonstrates the spiritual life and religious Then practice of the Tai in Northwestern religion in Viet Nam.

The sape is a traditional instrument of the Kenyah people in Sarawak, Malaysia. This boat-shaped instrument is made of the special wood adau and typically has two to four strings. \nSape music carries greater significance than simple per\u0002formance—it has long been used to calm people and treat illnesses. Previously, women were not allowed to play the sape, but it gradually became acceptable for them to per\u0002form. As the materials and playing techniques have changed over time as well, more people are now able to enjoy sape performances. The sape has helped to keep the tradition and beliefs of Malaysia alive through to the modern era.

On 12 and 13 November 2020, ICHCAP and the ICH NGO Forum virtually held the 2020 ICH NGO Conference entitled “ICH and Resilience in Crisis.” The fifteen participants, including eleven selected presenters from ten countries around the world, discussed various cases and activities of each country applied under the Corona-era, and proposed solidarity for the resilience of ICH for a ‘New Normal.’\n\nSession 1: In the Vortex: COVID-19 Era, Roles of NGOs to Safeguard ICH\n\nSpecial Lecture 1: 'Resilience System Analysis' by Roberto Martinez Yllescas, Organization for Economic Co-operation and Development (OECD) in Mexico\n1. 'Uncovering the veil of immaterial cultural heritage towards and autonomous management of well-being as well as cultural and territorial preservation' by Carolina Bermúdez, Fundación Etnollano\n2. 'Holistic Development Model of Community-Based Intangible Cultural Heritage of Yuen Long District in Hong Kong of China' by Kai-kwong Choi, Life Encouraging Fund \n3. 'Indigenous Knowledge System as a vector in combating COVID-19' by Allington Ndlovu, Amagugu International Heritage Centre\n4. 'Enlivening Dyeing Tradition and ICH: The initiative of ARHI in North East of India' by Dibya Jyoti Borah, President, ARHI\n\nSession 2: Homo Ludens vs. Home Ludens: Changed Features COVID-19 Brought\n\n1. 'The Popular Reaction to COVID-19 from the Intangible Cultural Heritage among Member Cities of the ICCN' by Julio Nacher, ICCN Secretariat, Algemesi, Spain\n2. 'Innovation for Arts and Cultural Education Amid a Pandemic' by Jeff M. Poulin, Creative Generation\n3. 'Promoting Heritage Education through Intangible Cultural Heritage in the Kalasha Valleys of Pakistan' by Ghiasuddin Pir & Meeza Ubaid, THAAP\n4. 'Shifting to Online Activities: Digital Divide among the NGOs and ICH Communities in Korea' by Hanhee Hahm CICS\n\nSession 3: Consilience: Prototype vs. Archetype for Educational Source\n\nSpecial Lecture 2: 'Geographical imbalance: the challenge of getting a more balanced representation of accredited non-governmental organizations under the 2003 Convention' by Matti Hakamäki, Finnish Folk Music Institute\n1. 'Crafting a Post Covid-19 World: Building Greater Resilience in the Crafts Sector through Strengthening Ties with its Community’s Cultural System' by Joseph Lo, World Crafts Council International\n2. 'Arts and Influence: Untangling Corporate Engagement in the Cultural Sector' by Nicholas Pozek, Asian Legal Programs, Columbia University\n3. 'ICH in the South-Western Alps: Empowering Communities through Youth Education on Nature and Cultural Practices' by Alessio Re & Giulia Avanza, Santagata Foundation for the Economy of Culture\n\n

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

This is a kirtana in six beats. The lyrics, Tulasī-dalamūlacē santōṣamuga, translated from Telugu mean “I worshipped you with tulasī leaves, Śrī Rāma.” The first track is an extended performance in the important, traditional and popular rāga māyamālavagauḷa, which is traditionally the rāga in which beginners learn their scales and other technical exercises. It is a subtle rāga whose notes do not take much oscillation without spoiling the mood and identity of the rāga. As is the way with the periya mēḷam tradition, this performance starts with the tavil player followed by the nāgasvaram player exploring the rāga in an extended improvisation. It’s important to note that, though the drummer plays along with the nāgasvaram player, the latter plays completely unmetered melodic passages. This juxtaposition of metered and unmetered playing is an aspect almost unique to the periya mēḷam, though singers and other instrumentalists sometimes indulge in this. At the Navaratri music festival in Trivandrum, in particular, singers and players of melodic instruments are required to perform ālāpana with a drummer.

The goong is a plucked stringed instrumentmade of a bamboo section. Its two ends have nodes. Its length is eighty centimeters and its diameter is five to eight centimeters. In some places, people tie a dry gourd to this instrument to increase resonance. The goong can have from eight to eighteen strings, but nine to twelve strings is the most popular. Each string produces one sound. To play this instrument, the instrumentalist puts the bottom of this instrument against his stomach and puts the head of this instrument in front of him to create a 45˚ angle. Two little fingers support the instrument and the rest pluck it. The goong instrument is only for men. It imitates the sound of the gong set. While gongs are allowed to be played only in some special occasions, the goong instruments can be played in anywhere in the Central Highlands.

CD7_MUSIC OF BASTAR AND CHHATISGARH\n\nThe indigenous tribal communities of India belong to various language families. This selection of music comes from the region of what was known as Bastar and its surroundings but is today divided into the states of Madhya Pradesh and Chhattisgarh. \n\nThis album presents some samples of the music of the Maria, Muria, and Pardhans. These subgroups are part of the larger Gond family. Gondi and the related languages belong to the Dravidian family. It provides a glimpse into the intangible cultural heritage of the tribes of Central India. \n\nThese recordings were made between 1978 and 1982 by ethnomusicologist Roderic Knight. They provide a glimpse into the tribal communities, which are fast changing.

Although Mongols are racially similar to Koreans, their folk music is vastly different, due to the difference in history and environment. Surprisingly, the Mongols do not have a wide range of folk songs. This may be because nomads do not often get the chance to hold gatherings, except on special occasions such as weddings. The only song that they do sing at events such as weddings is the urtyn duu, which means ‘long song’. The lyrics of urtyn duu sing of vast grasslands, blue skies, horses roaming grasslands, and nostalgia for the hometown and family that they have left behind.\n\nAlthough the Mongols do not have many songs, they do have an interesting repertoire of sounds to call their livestock, to coax animals, and to herd cattle. These sounds exist in a pre-song stage and symbolize the coexistence of man and beast in the grasslands of Mongolia.\n\nMongolian music contains many sounds that resemble the wind blowing in the grassland. This can be found in the overtone singing technique of khoomii that produces whistling sounds in the throat and the tsuur flute played with deliberate wind noises. An instrument called huur played by the Tsaatan tribe who raise reindeer by Khuvsgul Lake also produces the sound of wind.\nMongolian music also contains the epic genre. These epics are accompanied by simple two-stringed instruments and usually discuss the greatness of nature as a theme.

Precious Grops from Nepals Fountain of Folk Music \n(2016 MMN-ICHCAP Digitization Project of ICH-related Analogue Audiovisual Materials)\n\nMusic Museum of Nepal (MMN) is a non-governmental organization, founded in 1995 with the purpose of collecting, preserving and glorifying Nepali folk music and its related cultural heritage. There are more than 100 ethnic groups in Nepal, and each group has their own culture and traditions of marking every occasion and rite of passage from birth to death with music. MMN has recorded, documented and archived these ICH-related materials since many years ago.\n\nIn 2016, ICHCAP supported the MMN in digitizing around five hundred hours of analogue recordings through the Digitization Project of ICH-related Analogue Audiovisual Materials. Some of the materials representative of Nepali traditions were chosen and reproduced as Precious Drops from Nepal's Fountain of Folk Music, so they can be enjoyed by more people.\n\nThe Nepali collection consists of eight CDs and two DVDs. The CDs have forty-six tracks of folk music played in religious events and festivals, and the DVDs feature ten videos on folk dances and musical performances of occupational caste musicians. Each CD contains photos and descriptions of folk instruments to provide a better understanding.\n\nThis project is particularly important as it resulted in restoring analogue recordings at risk of permanent damage and digitizing them to enhance their academic value and public visibility. ICHCAP hopes that this collection will enable not just researchers in the relevant fields but also the general public to learn more about and become familiar with Nepali ICH.

Audio and Video Materials Collected from the Onsite Survey in the Ferghana Valley_2012 Uzbekistan-ICHCAP Joint Cooperation Project of Producing Digital Contents on ICH\n\nThe glorious intangible cultural heritage (ICH) of Ferghana Valley encompassing the state of Ferghana, Andijion, and Namangan in Uzbekistan includes oral traditional, performing arts, traditional rites and festive events, and traditional crafts. However, this heritage is largely unknown to the public in the nation and abroad, and it is fading out even more rapidly due to the young generation’s lack of interest.\n\nSince 2011, the four Central Asian countries, including Uzbekistan, have been implementing a three-year project, Facilitating ICH Inventory-Making by Using Online Tools for ICH Safeguarding in the Central Asian Region as a Central Asia–ICHCAP cooperative project. In the framework of the project, the countries have collected ICH information and tried to build an online system for managing the collected information.\n\nIn Uzbekistan, the Republican Scientific and Methodological Centre of Folk Art, under the Ministry of Culture and Sports of the Republic of Uzbekistan, in collaboration with the National Commission of the Republic of Uzbekistan for UNESCO, implemented the three-year project. They collected information on ICH elements in the Ferghana Valley (Andijan, Namangan, and Ferghana regions), Zarafshan Oasis and Southern Uzbekistan (Jizzakh, Samarkand, Kashkadarya, and Surkhandarya regions), and the Republic of Karakalpakstan (Navoi, Bukhara, and Khoresm regions) through onsite surveys from 2012 to 2014.\n\nIn 2012 when the first onsite survey was concluded, Uzbekistan and ICHCAP selected representative materials among collected videos, audios, and photos on ICH elements and ICH bearers, and compiled the materials as a ten-CD/DVD collection. Also, booklets in English, Uzbek, and Korean were made to spread related information to a wider audience.\n\nFerghana Valley is also home to Tajikistan, Uighers, and Turkistan. In the other words, different traditions co-exist in the same place. ‘Katta Ashula’, which integrates arts, songs, music, and epics, is one Uzbek cultural heritage representing the identities of the diverse people live in the valley\n\nThe collection could preserve the disappeared and disconnected ICH and encourage increased mutual understanding and communication by spreading the information widely from the experts to the people.

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 18 is 'TRADITIONAL FERMENTED FOOD'.

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 38 is 'Funeral Ceremonies and New Beginnings.'