Aidai Asangulova is one of the famous craftswomen in Kyrgyzstan and the head of the “Kiyiz Duino” Public Foundation. \n\nThe goal of PF “Kiyiz Duino” is to revive and safeguard traditional knowledge and skills related to crafts and the cultural space around it. “Kiyiz Duino” aims to draw general public attention to Kyrgyz traditions and customs; show people how a person can coexist with the surrounding nature in harmony, use its gifts without causing it harm; explain how important it is to take care of nature and preserve its purity for future generations.\n\nThe Foundation holds various community-based events, such as workshops on making Kyrgyz traditional clothing, or festivals to popularize traditional rituals and practices from local to national levels. They also actively cooperate in the safeguarding of the intangible cultural heritage with governmental and nongovernmental institutions, participate in field trips, conduct research, and document ICH elements. \n\n“Kiyiz Duino” has contributed greatly to the preparation of nomination files as “Ak-kalpak craftsmanship, traditional knowledge and skills in making and wearing Kyrgyz men’s headwear” and “Elechek, Kyrgyz female headwear: traditional knowledge and rituals”.\n

Jacob MAPARA is cu「rently the Director of the\n \n\nCatego’Y\n \nInstitute of Lifelong Learning and Development Studies of Chinhoyi University of Technology, Zimbabwe. He is Professor and Chairperson for Centre for Indigenous Knowledge and Living Heritage. At present he is leading\nthe “Inventorying oral traditions, expressions , local\nknowledge and practices of the Korekore of Hurungwe district in Zimbabwe” pr이ect. He holds a Dlitt et Phil (PhD)\n \nand a Maste「s’\n \ndegree in African Languages from the\n \nUniversity of South Africa. He has an Honours degree in Shona (one of the languages of Zimbabwe) as well as a Graduate Certificate in Education from the University of Zimbabwe. In addition , Dr. Mapara holds a Certificate in Environmental Education (now Education for Sustainable Development) from Rhodes University, South Africa

At The Kishkinda Trust (TKT) in Anegundi, conservation empowers communities and creates a way of life that considers culture as an intangible element permeating all activities in life- ranging from functional to ideational-  ecology, cuisine, crafts, design, agriculture, technology, education, markets and festivals. Founded in the year 1997 by Shama Pawar, The Kishkinda Trust (TKT) assists the villagers of Anegundi at a grassroots level to build capacity in order to maintain business incubators and to conserve their historical heritage. TKT runs several unique programs, which are seamlessly integrated with the lives of the local people and that empower them economically.

The Nomadic Civilization Center named after Kurmanjan Datka located in Ornok village of Issyk-Kul province, Kyrgyz Republic. \n\nThe Center was opened in 2017 with an aim to present to the public general the rich historical and cultural heritage of nomadic people. The Center constantly organizes cultural, educational, and scientific activities for the safeguarding, dissemination, and popularization of nomadic cultural values. Most of the activities of the Center are organized with the support of the local ICH communities e.g. exhibitions and fairs are usually conducted with the close cooperation of the Center and the craftspeople from the village or province.\n

Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand.\nMak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes.\nUnfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005.\nThe performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance.\nEach story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.

Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand.\nMak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes.\nUnfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005.\nThe performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance.\nEach story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.

Rickshaw is considered one of the most popular transport vehicles in Bangladesh. Millions of rickshaws can be seen all over the country. It is one of the most easy-to-get and traditional vehicles in this region. Basically, this is a three-wheeled pedicab driven by a person who is generally called 'rickshaw-wala'. It is required to put hard physical labor to drive this vehicle. Most of the Asian nations have their own form of this primitive transportation. But, in Bangladesh, the vibrant, colorful designs on rickshaw has taken it to another level of aesthetics and craftsmanship. The painted rectangular metal board at the backside, between the two wheels of the vehicle is the main attraction of the whole artwork. This is what you generally refer to as rickshaw painting- a genre of art that is unique to the Bengali culture. Sometimes it resembles rural life, sometimes historic incidents or movie stars or surreal thoughts, essentially to attract the passengers. This is a traditional Bangladeshi urban folk art form that represents the culture, history, and livelihood of common people. In reality, every rickshaw is a single mobile piece of art.\n\nThe themes of rickshaw painting are a bit different in different cities. In Dhaka, the capital city of Bangladesh, the paintings are more vibrant than the paintings Chittagong region, and you can also notice the difference in Rajshahi or other regions. But most of the time It includes the colorful paint of birds, flowers, village scenery, liberation war, cinema poster, cities, mythology, animals, human beings, national monuments, etc. Even sometimes global incidents inspire the artisans. There were rickshaw paintings in Dhaka based on the incidence of the collapse of twin towers in the United States of America.\nThe rickshaw painters are considered as traditional folk artists. Their arts are sometimes considered as people's art. There are different types of rickshaw painters. Mostly they are less educated. They are the people who have been working in rickshaw garages. If you visit the rickshaw garages you may find elderly people who have been painting for decades. This is somehow a pearl of local wisdom. Most of the early artisans self-taught. They have no institutional training or knowledge of painting. However, their colorful vibrant paintings on rickshaw show their craftsmanship, skill, and level of imagination and observation power. These paintings on the body of the rickshaw can easily catch someone's eye which is the main reason behind rickshaw painting- to attract passengers. nThe painters reflect their own likings and desires in their paint as well as the desires of the people who are ordering the painting. They also consider the likings of the passengers whom we call rickshaw-jatri. The decoration and painting attract the general riders. They enjoy watching this piece of art.\n\nWe can see some challenges nowadays, in terms of keep going on with this traditional form of art because of mechanization, modernization, and urbanization. Rickshaws are gradually being withdrawn from selected streets of the larger cities. There is a doubt that this will eventually affect the traditional art form. If this continues to happen, the big cities will have no more rickshaws which is really a big threat to the art form. Some people also oppose rickshaw pulling because this is a very hard physical labor-oriented occupation. But if rickshaw gets withdrawn from the big cities there will be a risk to lose the tradition and it will affect the economy and living of the people related to this. nThe traditional artisans of rickshaw painting are somehow facing some problems to keep going on with their traditional livelihood. They complain that they are not getting enough earing from rickshaw painting these days. They paint rickshaws with their hands. But nowadays there are other available digital paint forms like screen printing which costs three or four times less than the hand paintings. So the rickshaw owners are preferring to buy these screen printings. nRickshaw painting is one of the most tangible forms of intangible cultural practice. This art is considered 'peoples art. The painted rectangular metal board at the backside, between the two wheels, leaves a trail of passion that the Rickshaw artist puts in his creations. This craftsmanship requires knowledge and skills which is transmitted from the early rickshaw painters themselves. nSome young students of Charukola, Dhaka University; one of the most influential fine arts institutes of the country, have expressed their thoughts on the safeguarding of this unique art form. They are also trying to revitalize this traditional form of art. They are trying to make it popular among the urban upper and middle-class society. They suggested using this form of art on other products like dresses, mobile phones, and other accessories. nAs the genre of the rickshaw paint is dying down due to digital printing and other such technologies, some young Bangladeshi artists are trying to bring back rickshaw art and promote it by hand painting on modern, innovative products. They are trying to convert the traditional form of rickshaw art into a modern form of art. \n\nThe youth of Bangladesh is very much connected to this intangible cultural heritage and they are finding their way to safeguard and promote it in this era of digital printing. While we can feel the risk of diminishing this art form, It is a light that young people who are parts of institutional or formal fine arts are trying to safeguard and promote the knowledge and tradition of the painting. They are also taking steps to preserve and protect the form of art .

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.

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

Webinar: “Life, Environment, and ICH along the Silk Roads”\n\n<Day 1>\n\n1. 'The Need to Shift from Global to Local' by Helena Norberg-Hodge\n2. 'On Cooperative Mechanism for the Silk Roads ICH toward Sustainable Development' by Seong-Yong Park\n3. 'Vitality and Sustainability of the Silk Roads ICH Festivals' by Alisher Ikramov\n4. 'The Water-Performance Installation Project—Art Practice for the Coexistence of Humanity and Nature in the Silk Roads Region' by Dong-jo Yoo\n\nㅇ Panel Discussion\n\nSession1 : Online Strategic Meeting on Silk Roads ICH Networking\n: Case Studies on the Vitalization of the Silk Roads ICH: ICH Festivals & Sustainable Development\n\n1. 'Case of Tajikistan : Role of Festivals for ICH Safeguarding Within Local Communities' by Dilshod Rahimi\n2. 'Case of Kyrgyzstan: Influences and Effects of ICH Festivals on Local Communities' by Sabira Soltongeldieva\n3. 'Case of Kazakhstan: ICH Festivals’ Influence and Effects on Local Communities' by Khanzada Yessenova\n4. 'Andong International Mask Dance Festival: Realization of Folkloric Values and Transmission of ICH' by Ju Ho Kim\n5. 'Case of Turukmenistan : Future of ICH Safeguarding' by Shohrat Jumayev\n\n<Day 2>\n\nSession2: Cooperation and Solidarity for Operating the ICH Network along the Silk Roads\n\n1. 'On the Feasibility of the Silk Roads ICH Network' by Sangcheol Kim\n2. 'Operational Issues of the Network' by Alim Feyzulayev\n3. 'Cultural Context of a CIOFF Festival' by Philippe Beaussant\n4. 'ICH Festivals in Specific Goal and Task' by Kaloyan Nikolov\n5. 'Identifying Ways to Develop Intangible Heritage Festivals through Community Networks (Focusing on the Case of the Gijisi Tug-of-War Festival)' by Daeyoung Ko\n\nㅇ Panel Discussion\n\nSession3: Collaborative Work and Benefits through Activities of the Silk Roads ICH Network\n\n1. 'Scope and Definition of Collaborative Work through Activities of the Silk Roads ICH Network' by Kwon Huh\n2. 'Cooperative Measures for Festivals in the Silk Road Region' by Jahangir Selimkhanov\n3. 'ichLinks: Information-Sharing Platform as a Key Base for Safeguarding and Use of Intangible Cultural Heritage in the Asia-Pacific' by Sangmook Park\n4. 'Case Study: Silk Roads Heritage Corridor - Afghanistan, Central Asia, and Iran' by Krista Pikkat\n5. 'UNESCO Silk Road Online Platform' by Mehrdad Shabahang\n\nㅇ Panel Discussion

CD3_FOLK SONGS OF NEPAL\n\nNepal is still extremely rich in folk songs, though these are less popular with younger generations. The music culture has traditionally been an oral culture passed down from guru to pupil. Many songs that have never been recorded or written down are thought to have been lost. Fortunately, several enthusiastic folklorists, musicians, singers, and researchers have made collections of folk song lyrics to promulgate them, focusing especially on the rarer and most endangered folk songs. We present here a few examples.

CD1_BHAJANS OF NEPALI FOLK CULTURE\n\nA bhajan is a spiritual chant in traditional Nepalese culture that is performed mainly in temples. The lyrics typically recount the good deeds of various gods and goddesses. It is believed that the performance of a bhajan brings about peace and prosperity and an improved quality of life for all living beings. Bhajans of Nepali Folk Culture This CD includes examples from four distinct categories of bhajan, namely Devi Bhajan, Dafa Bhajan, Khainjadi Bhajan, and Usha Charitra Bhajan.

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.

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.

Lialiaci is a publication of the iTaukei Institute of Language and Culture, Ministry of iTaukei Affairs.\nLialiaci means to ponder or reflect upon deeply. That is the intent of these articles and perspectives on culture. \n\nThe Vanua Spirituality will attempt to explain the ancient spirituality of the indigenous people of Fiji. Indigenous spirituality is important because it describes in totality the significance of the Vanua, its worldview and vanua ethos. \n\nFijian Bread; The people of Qoma are fisherfolk, and part of their traditional role is the presentation of turtle accompanied with a basket of Fijian bread 'madrainiviti' to the chief of Verata and Dawasamu. Before the introduction of wheat bread in Fiji, their ancestors were enjoying traditional bread made out of fermented root crops.\n\nThe five Cultural Protected Water Body (CPWB) Types in Fiji; A total of five CPWB were found to be practiced in Fiji.\n

Pacific islanders have been dealing with changing environmental factors for centuries. Adapting to change is part of Pacific lifestyles, and traditional knowledge, values, and practices—or intangible cultural heritage—underpins the ability of Pacific communities to live successfully and thrive in their environment. In this brief brochure, a publication by the UNESCO Office in Apia and ICHCAP, we learn how intangible cultural heritage, along with other scientific knowledge, may enhance the communities’ resilience against natural disasters and climate change. The following examples relating culture and sustainable environments are included in the brochure:\n\n- Traditional Navigation Systems\n- Environmental Resource Management\n- Vernacular Architecture\n- Social Cohesion, Networks, and Cooperation