Aibek Baiymbetov graduated from the Kyrgyz National University named after Jusup Balasagyn with a Master's degree in International Relations. He also studied at the University of Tsukuba in Japan as an exchange researcher. Besides, he studied the Chinese language and oriental culture in Guangzhou, China. \n\nAibek Baiymbetov has been working in the field of cultural heritage and journalism for more than 10 years, with a focus on safeguarding the intangible cultural heritage, popularizing the traditional knowledge and practices of nomadic culture, as well as creating a value-oriented, modern creative network in the field of traditional music, journalism, animation, film, and theatre art. \n\nRecently, he has been actively working on preserving the biocultural diversity, adapting the cultural meanings to modern perception - through digital and creative products. Aibek Baiymbetov is a co-founder of the musical project "Kyrgyz Kairyk" which focuses on the safeguarding and popularisation of traditional music, he also acted as a consultant in several projects on the restoration and popularisation of Kyrgyz traditional art. \n\nHe took part in many research expeditionary initiatives to study the traditional culture of the indigenous people of the Tian Shan, Pamir, Himalayas, and Altai. He is a founder of the Public Fund "Peace Dialogue and Holistic Development", which has been working for more than 5 years in the field of safeguarding ICH, as well as creating a network of expert councils in the fields of climate, ecology, philosophy and traditional cultural and spiritual practices. He is an author of a short documentary anthology film "Man - Universe". At the moment, he is a researcher at the Department of Cultural Heritage and Humanities at the University of Central Asia. \n\nAibek Baiymbetov's academic and research interests lie in the area of the religious and cultural heritage of Kyrgyzstan/Central Asia - traditional Islam and traditional practices of the nomadic ideology. In the field of biocultural diversity and traditional cultures of indigenous people. Traditional art - Kyrgyz folklore, epic heritage and music. \n\nHe is the winner of the UNESCO 2021 “Silk Road Youth Research Grant” competition among the young researchers, as well as the winner of international and local film festivals in the field of documentary films about ICH. \n

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

The Tita dance (踢踏舞) is a form of mass dance performed for entertainment, passed down in various regions inhabited by the Zang people. It is very lively and fast paced. ‘Ti(踢)’ means to kick in mandarin Chinese, while ‘Ta(踏)' means to step. Together, ’Tita’ refers to the motion of energetic kicking and stepping. True to the name, the dance is characterized by stepping on the ground with thick and heavy boots in time to the beat to produce sounds. While the soles and heels of the feet alternate in tapping the ground, the torso moves along in harmony. The dancers wear colorful costumes, with bells around their waists and legs that ring out joyfully.\n\nThe Tita Dance used to be performed only in fall each year, in Zang temples. However, after its spread to the public, it was performed without restrictions, on every important occasion such as festivals, gatherings and celebrations. Originally, only men were allowed to dance the Tita Dance. The greater the number of participants, the more fervent the atmosphere and the grander the sight. The Tita Dance of the Sichuan region originated from Tibet, and is characterized by crisp and exuberant rhythms.\n\nCharacteristics:\n∙Stepping on the ground with heavy boots to make sounds\n\nPerformed by Ganzi Tibetan Autonomous Region Ethnic Dance Company\nDirected by Liu lifu

The Tita dance (踢踏舞) is a form of mass dance performed for entertainment, passed down in various regions inhabited by the Zang people. It is very lively and fast paced. ‘Ti(踢)’ means to kick in mandarin Chinese, while ‘Ta(踏)' means to step. Together, ’Tita’ refers to the motion of energetic kicking and stepping. True to the name, the dance is characterized by stepping on the ground with thick and heavy boots in time to the beat to produce sounds. While the soles and heels of the feet alternate in tapping the ground, the torso moves along in harmony. The dancers wear colorful costumes, with bells around their waists and legs that ring out joyfully.\n\nThe Tita Dance used to be performed only in fall each year, in Zang temples. However, after its spread to the public, it was performed without restrictions, on every important occasion such as festivals, gatherings and celebrations. Originally, only men were allowed to dance the Tita Dance. The greater the number of participants, the more fervent the atmosphere and the grander the sight. The Tita Dance of the Sichuan region originated from Tibet, and is characterized by crisp and exuberant rhythms.\n\nCharacteristics:\n∙Stepping on the ground with heavy boots to make sounds\n\nPerformed by Ganzi Tibetan Autonomous Region Ethnic Dance Company\nDirected by Liu lifu

The Babadok is a traditional percussion instrument of Timor-Leste, central to the soundscape of communal dance, ritual, and celebration. With its deep, resonant rhythm, the babadok doesn’t just keep time—it sets the emotional pulse of an event, weaving together the steps of dancers, the cadence of songs, and the energy of the gathered community.\n\nTypically made from a hollowed-out log or wooden tube covered at both ends with animal skin—often goat or cowhide—the babadok is lightweight and portable. Struck with the hands or sometimes with short wooden sticks, it produces a sharp, dry beat that is both grounding and expressive. The drumheads are stretched tightly and tied securely with natural fiber ropes, sometimes decorated with paint or carved patterns. Over time, each instrument develops its own distinct tone, shaped by use, climate, and craftsmanship.\n\nIn traditional ceremonies, particularly dances like tebe-tebe or tebe-lilin, the babadok is the heartbeat of the performance. It provides tempo, signals changes in movement, and helps dancers synchronize their steps. More than a musical tool, the babadok becomes a channel through which emotions—joy, sorrow, gratitude—are communicated and shared. During ritual gatherings, it may accompany singing, recitation of oral histories, or moments of spiritual invocation.\n\nThe instrument is most often played by women, though in some regions both men and women participate. Its accessibility is part of its charm—anyone with rhythm, respect, and a sense of the tradition can learn to play. Children often grow up hearing the babadok played at family ceremonies or village festivals, absorbing its patterns and rhythms before they ever try it themselves.\n\nCrafting a babadok is itself an act of cultural care. The choice of wood, the drying and stretching of the skins, and the tying of the drum all follow methods passed down through generations. Elders often guide young artisans in this process, emphasizing not just the technique but the responsibility that comes with creating something used in sacred and social spaces.\n\nDespite its enduring importance, the babadok—like many traditional instruments—faces challenges in modern times. Mass-produced drums and changing musical preferences mean that fewer young people are learning to make or play it. Still, efforts are being made to preserve the tradition, with community performances, school programs, and cultural events placing the instrument back at the center of public life.\n\nIn the rhythm of the babadok, one can hear more than music: it is the sound of continuity, of people moving together, of ancestors remembered and futures imagined. Whether echoing across a dusty dance circle or softly beating in a sacred house, the babadok remains a powerful symbol of Timor-Leste’s living heritage.

The team of students and young dombra artists from various musical colleges and art communities took part in the festive events for the first National Dombra Day celebration in Almaty. The performance was leaded by the famous artists and musicians.\nFirst celebration of the National Dombra Day had been widely spread in the country. A lot of individual artists and dombra professional and folk orchestra conducted the concert performance at Arbat avenue, popular public place in Almaty.\nThe Dombra is a musical two-stringed instrument, which occupies a special place in Kazakhs’ hearts. The National Dombyra Day has been included in the list of national holidays since 2018 by the decree of the President of Kazakhstan. This was done in in order to further consolidate society around the idea of preserving and reviving national culture and identity. The holiday is celebrated annually on the first Sunday of July.\nKazakhstan’s First President Nursultan Nazarbayev established National Dombra Day on June 12th, 2018. It immediately became a favorite holiday for people and was widely celebrated nationwide with music competitions and festivals.\nDombra belongs to the main symbols of the Kazakh musical heritage and culture. This tool invariably unites people of different professions, religions and nationalities in Kazakhstan. You can meet dombra today in almost every home.\nNone of events in the life of the people could happen without this national musical instrument. Respect for dombra is passed down from generation to generation. So it was in the days of nomads and remains to this day. Interest in dombra, as well as its popularity, is not fading away. Today, an increasing number of young people masterfully own this instrument.

ICHCAP, in collaboration with UNESCO Bangkok Office, held the Intangible Cultural Heritage Webinar Series from June to August 2020 with a total of four sessions. The 23 speakers from 18 countries met with the public to grapple with alternative practices and emergent modes of delivery in various areas such as heritage education in the universities, networking amongst educational institutions for ICH safeguarding, development of ICH curricula in times of crisis, as well as inter-regional cooperation for cross-cultural instruction and learning.\n\nWhile the entire world is struggling with the impacts of the COVID-19, the ICH sector also has been hit hard by numerous public health measures such as the cancellation of major festivals and events, temporary shutdown of museums, and places of cultural activities, as well as the indefinite halting of formal and informal heritage transmission activities. How can ICH safeguarding and transmission thrive in the midst of an unprecedented pandemic, and what role can higher education institutions play to ensure the viability of living heritage in our times? ICHCAP organized this webinar series to answer these urgent questions that we all face today.\n\nIn the first session of the ICH Webinar Series on 18 June 2020, we looked into the state of ICH safeguarding in the region, attending to how it has been conditioned by the pandemic and how various activities have been reshaped in order for them to maintain their purpose while also considering the protocols observed to curb coronavirus transmission.\n\nPresentation1 UNESCO Online Survey Results on Living Heritage Experience and the COVID-19 Pandemic by Juliette Hopkins, Living Heritage Entity, UNESCO\nPresentation2 Reviving the Living Landscape System of Lai Chi Wo for Urban Sustainability by Anna Yau, Project Manager, The University of Hong Kong\nPresentation3 Living Heritage Experiences in the Context of the COVID-19 Pandemic in Singapore by Yeo Kirk Siang, Director, Heritage Research and Assessment, National Heritage Board of Singapore\nPresentation4 Disaster as Opportunity by Christopher Ballard, Professor, The Australian National University, Australia\nPresentation5 Te-er/Tengao: The Significance of the Compulsory ‘Rest’ Day of the Bontoks in Mt. Province in the Context of COVID-19 Pandemic by Eric Zerrudo, Professor, University of Santo Tomas University, Philippines

ICHCAP, in collaboration with UNESCO Bangkok Office, held the Intangible Cultural Heritage Webinar Series from June to August 2020 with a total of four sessions. The 23 speakers from 18 countries met with the public to grapple with alternative practices and emergent modes of delivery in various areas such as heritage education in the universities, networking amongst educational institutions for ICH safeguarding, development of ICH curricula in times of crisis, as well as inter-regional cooperation for cross-cultural instruction and learning.\n\nWhile the entire world is struggling with the impacts of the COVID-19, the ICH sector also has been hit hard by numerous public health measures such as the cancellation of major festivals and events, temporary shutdown of museums, and places of cultural activities, as well as the indefinite halting of formal and informal heritage transmission activities. How can ICH safeguarding and transmission thrive in the midst of an unprecedented pandemic, and what role can higher education institutions play to ensure the viability of living heritage in our times? ICHCAP organized this webinar series to answer these urgent questions that we all face today.\n\nIn the last session of the series on 12 August 2020, education experts from Uganda, Fiji, and Belgium were invited to discuss the development of ICH-related education modules and curricula; different contexts were discussed to show a multidimensional picture of how heritage education curriculum is drafted and implemented.\n\nPresentation1 Inter-regional Field Experiences on Curriculum Development for ICH Safeguarding: Experience from Uganda by Emily Drani, Executive Director, Cross Cultural Foundation of Uganda\nPresentation2 Strengthening Heritage Management Capacity in the Pacific Islands by Dr. Frances C. Koya Vaka’uta, Director, Oceania Centre for Arts, Culture and Pacific Studies, The University of the South Pacific\nPresentation3 From the Blue Book to a Blue Ocean Strategy in Higher Education by Dr. Marc Jacobs, Professor, University of Antwerp

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.

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.

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.

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.

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 41 is 'Block Printing on Textiles.'

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 23 is 'Traditional Navigation of Pacific Islanders.'