Kazakh Kuresi represents ancient form and style of Kazakh traditional wrestling, essential element of all festive events, celebrations and integral part of modern Kazakhstani national identity. Since ancient times, the beauty of this sports and strength of the hero-wrestlers “Baluans” have been reflected in folk epics, fairy legends, Kazakh literature like the poem of Iliyas Zhansugurov “Kulager” and Gabit Musrepov’s novel “Ulpan”, and archaeological findings. Wrestling of two opponents is performed on 12m.x 12m. sized mat. The opponents are matched according to their weight category ranging from 60 kg and above 90 kg. All techniques are performed above the waist – wrestlers must fight on foot, making it more difficult. Wrestling on the ground is prohibited. The purpose is to lay the opponent on shoulders. Duration of the match is 5 minutes with extra time of 3 minutes which is offered in case of even number of points. Evaluation of matches is counted by: a) “Buk” – if the opponent touches the mat with abdomen, knee or both knees; b) “Zhambas” is given for three “Buks” or when the opponent touches the mat with one side of pelvis or both; b) “Zhartylay zhenis” is awarded for the technique when the opponent touches the mat with both shoulders.

Kazakhstan 2016

Songket is a traditional Malaysian handwoven fabric. It is woven on two-pedal floor looms by the Malay women In Malay Peninsula (West Malaysia) and in Sarawak (East Malaysia). The term Songket is derived from the technique employed to make it: inserting gold or silver thread in between the weft and warp threads. Songket is woven using the Malay weaving loom called 'kek'. Songket is woven as the supplementary weft method, a decorative weaving technique in which extra threads "float" across a colourful woven ground to create ornamental effect. The delicate piece of Songket is the result of many months of skilled handloom weaving by expert craftsmen who learn the art from their ancestors. The identity is traced by its design patterns that use geometry and elements of nature such as flowers, birds and insects. The motifs of tampuk manggis (mangosteen calyx), tampuk kesemak (persimmon), bunga pecah lapan (eight-petal flower), bunga bintang (star-patterned flower), pucuk rebung (bamboo shoots) and awan larat (trailing clouds) are among the most frequently used. These traditional patterns continue to be used, especially in aspects of separation and placing the various parts of the cloth such as the centerfield, main panel and end borders. Unlike the old days, Songket is only worn by royalty and their families. But todays, it is mostly worn as traditional Malay ceremonial costumes during royal installations, wedding, birth, Malay festive occasions and formal state functions.

Malaysia 2021

The Inai Dance is a traditional dance of Malay palaces performed during circumcision ceremonies of palace dignataries and also during wedding ceremonies. This dance has specific procedures to produce difficult finger and hand movements in a continous circular position. The dance also combines the dance movements found in Mak Yong traditional theatre, the silat martial art and acrobatic arts. The Tari Inai Dance has a special dance form that is showing off a dancer’s capability to balance the body and bend backward to pick up a paper money using the mouth.

Suối Mỡ Temple Festival is held on March 30 and April 1 of the lunar calendar every year at Suối Mỡ Temple, to honor the Three Holy Mothers, especially Princess Quế Mỵ Nương, daughter of the 16th Hùng King. He was instrumental in opening the Stream, helping people clear the land, and creating water for people to cultivate. Right from the early morning of the 1st, 25 processions of villages in Nghĩa Phương commune gathered at Đảo Nổi to attend the opening of the festival. After that, the procession from the villages to the temples (Thượng, Trung, Hạ) in the Suối Mỡ relic complex. First, there is a ceremony at Dùm village communal house and the procession of the tutelary god's ordination and tablet to Suối temple. The procession passes through Cây Xanh temple and then to Hạ temple. At the same time, Quỷnh village also took the procession from Quỷnh communal house west of Suối Mỡ, through Hàn Lâm village to Trung temple to hold the ceremony. When the procession arrives at Hạ Temple, the offerings are made. Palanquin processions were previously led by virgins, or young ladies. The male and female Mandarin worship teams, as well as the villagers, lead the procession of palanquins with hammocks, floats, parasols, regalia, and other elaborately decorated outfits. The highlight of the Suối Mỡ temple festival is the ritual of singing literature and worshiping the saints of the villages. The festival has many folk games such as pounding day cake, archery competition, traditional martial arts performances, blindfolded pot smashing, chess, checkers, etc.

Yike Theater is a typical folk performance art form of the Khmer people. Yike Theater was born in the Ba Sắc region of Sóc Trăng province with the great contributions of his ancestor Lý Cuôn. The theme is exploited from the treasure of Khmer folk literature. The stage and scenery are of the nature of a "gourd stage", and a landscape backdrop (available, can be pulled up and down). Basic dances such as military training, congratulations, good harvest, water invitation... Dance movements are divided into two character lines: the front line has poise and decisive movements (men) and graceful and soft movements (women); The villain line has exaggerated, fierce movements. The choreography has separate rules for different types of characters: people (13), python (02), and animals (01); individual choreography (04) and combat choreography (06). Music: the main musical instruments are strings and percussion, the most important being "trô u" (dip lute); Pinpet (pentatonic) orchestra. Music has its own characteristics, is methodical, has clear patterns and rules, and is used for each subject and character's personality. Songs and melodies: there are a total of 163 songs (tunes, including Lôm songs and Nô kô rek songs), of which 34 are traditional and official songs; The remaining songs are influenced by other art forms. The songs are divided into male and female voices, with specific characters such as hunters, fairies, male, female, and clown roles. The characteristic of Yike singing is that at the end of all the songs, there is a collective chant inside the stage. The art of makeup according to specific regulations shows the character's personality: bold, clear makeup (human - white, pink red; fox - red, black; fairy - blue). This is a combination of art forms from singing, dancing, music, martial arts, costumes, makeup, painting, and cuisine with unique characteristics of the community. Before performing, they worship the ancestors. The game exploits fairy tales and Khmer folk mythology.

Trần Temple Festival is a "two-term spring-autumn" festival to commemorate ancestors, 14 Trần Dynasty kings and Hưng Đạo King - Trần Quốc Tuấn. In spring, the Trần Temple seal opening ceremony takes place solemnly on the night of January 14 and 15 with 3 rituals: thurify, the procession of seal palanquin and seal opening at the Trần Dynasty's Tiên Temple (Thiên Trường palace). In the past, in the years of the Rat, Horse, Cat, and Rooster, on the full moon day of the first month, Thượng Temple held a Seal Opening ceremony with the participation of seven villages: Vọc, Lốc, Hậu Bồi, Bảo Lộc, Kênh, Bái, Tức Mặc. In front of the temple yard flutters a large flag, in the middle embroidered with the words "East" and "A" combined. The procession from surrounding communal houses and temples to offer incense and sacrifices at Thượng temple. During the opening ceremony, the door of Thiên Trường temple is closed to ensure solemnity. From 11:55 p.m. onwards, the temple will open for people to continue the New Year's ceremony. After the main ceremony, the temple will be opened to people and visitors at the first ceremony of the year. From 5 a.m. on January 15, the organizing committee will hold a seal-disclosing ceremony for people and tourists from all over. In the fall, the Trần Temple festival is held from Full Moon to August 20 with the mindset of "August is the father's death anniversary, March is the mother's death anniversary". The festival is solemnly celebrated, with processions from surrounding communal houses and temples to offer incense and sacrifices at the Thuong temple to worship the 14 Tran kings. The incense offering ceremony had 14 virgin girls carrying 14 flower trays entering the temple with music to offer to 14 kings. The festival has many rich and interesting forms of cultural activities such as cockfighting, five-generation martial arts performance, wrestling, lion dancing, playing card games, praying for overseas Vietnamese, singing adoration, and dancing card games.

The Long Tong Festival (Going to the Fields Festival) of the Tay people in Dinh Hoa district, Thai Nguyen province is held in the early days of spring to pray for favorable weather, good crops, bountiful harvests, and a prosperous life. The festival is held in the largest and most beautiful fields. The Long Tong Festival includes a ceremony and a festival. The festival will feature many traditional rituals that have existed for a long time, such as: the Tay people's harvest praying ceremony, San Chay, Tich Dien ceremony; the Dao people's blessing praying ceremony, with traditional rituals imbued with the beliefs of the ethnic groups in Dinh Hoa district. During the ceremony, each family prepares a tray of offerings including chicken, pork, boiled eggs, Chung cake, sticky rice, various types of sticky rice cakes, Khao cakes, Lam tea... to offer to the gods. On each tray of offerings, there is a colorful flower-shaped cake and two pairs of cones made of fabric with many colorful tassels and seeds of all kinds. The offering trays of the village are carefully selected, must be larger, more numerous, more beautifully decorated than the offering trays of the families and must include a pig's head. The offering trays are arranged in a straight line, the master of ceremonies (usually a Taoist or Mo master), is called "Pú mo". "Pú mo" stands in front of the offering trays of the village to thank heaven and earth, the gods for blessing the villagers, at the same time the villagers light incense, pour wine. After the prayer of thanks, "Pú mo" continues to pray for rain, an assistant carries a basin of water standing next to it, many others hold palm leaves walking from the worship place to the end of the field. After praying, "Pú mo" sprinkles water around, implying that heaven is sending rain, the villagers gather around, everyone wants to catch those drops of water symbolizing luck. After sprinkling water, "Pú mo" takes seeds from the offering trays and sprinkles them around, the villagers mix those seeds with the seeds they choose to plant. Next, the men will plow the first furrows, while the women will show off their planting skills. After the ceremonies, the villagers will celebrate together, wishing each other good health, good luck, full barns of rice, full yards of pigs and chickens, etc. During the festival, there will be a Tich Dien ceremony, a planting competition, dry puppetry, folk games: throwing cones, lion dances, martial arts, tug of war, stilt walking, tug of war, stick pushing, singing and responding between men and women, etc. The Long Tong Festival (going to the fields) is one of the festivals held annually by the Tay ethnic group in Thai Nguyen, associated with agricultural beliefs, to express respect and gratitude to the gods of the forest, the gods of the mountains, the gods of the sky and the gods of the earth, and the wishes for a prosperous life imbued with the identity of the indigenous Tay people. Through this, the festival activities also contribute to promoting valuable landscapes and historical relics to boost local tourism development. This is a long-standing traditional festival of the Tay people in the Viet Bac region, recognized as a National Intangible Cultural Heritage by the Ministry of Culture, Sports and Tourism in 2017.

Tản Viên Sơn Thánh, also known as Son Tinh, is a saint associated with the legend of fighting against nature and foreign invaders to preserve the country. He is one of the "four immortals" of Vietnamese gods. The Worship of Tản Viên Sơn Thánh covers a large cultural space in the Northern Delta region, of which the most concentrated is the Xu Doai region (the core area is Ba Vi district). The Worship of Tản Viên Sơn Thánh is practiced by the people of Ba Vi district - Hanoi at over 100 relics in the area, typically the relic cluster of Thuong temple, Trung temple, Ha temple (in the area of Ba Vi and Minh Quang communes), Tay Dang communal house (in Tay Dang town), Thuy Phieu communal house (Thuy An commune), Khe Thuong communal house (Son Da commune).... Every year, on the full moon day of the first lunar month, local people organize a festival with rituals and orations recalling the merits of the saint. During the ceremony, the head of the incense (the representative of the people in the area) will read the eulogy recalling the merits of Tản Viên Sơn Thánh in a solemn atmosphere, in which special emphasis is placed on the royal decree with the honorary titles. The festival includes many performances that reflect the traditions of martial arts and the diligence and creativity of the people in their labor, such as lion dance, dragon dance, swing playing, wrestling, cockfighting, boating, duck catching, climbing bridges... These activities all recall the merits of Tản Viên Sơn Thánh in teaching people how to farm and train the army... On the 6th day of the 11th lunar month, Ba Vi district organizes an incense offering ceremony to commemorate the death of Saint Tản Viên. In addition to the usual offerings such as chicken, pig, sticky rice, wine, incense and flowers, each place worshiping Tan Vien Son Thanh in big parties has its own offerings. Among them, the indispensable offering is a pig or chicken with jet-black fur. If the pigs and chickens offered to the Saint have white feathers, the whole village will not have good business that year... The Worship of Tản Viên Sơn Thánh is imbued with humanity, looking back to the origin, expressing the desire to conquer nature and towards a better life of people. The Worship of Tản Viên Sơn Thánh has a particularly important meaning in the spiritual life of the people of Ba Vi district. He is not only the patron saint of the village but is also revered by the people as the First God of Fortune, the Supreme God, and the national hero, the hero of opening the land and controlling the water, the hero who enlightened the culture of our nation since the founding of the country. With its great cultural heritage value, on January 30, 2018, the Worship of Tản Viên Sơn Thánh in Ba Vì was recognized by the Ministry of Culture, Sports and Tourism as a national intangible cultural heritage in Decision No. 266/QD-BVHTTDL.

Chhay dam Drum Dancing is one of the unique traditional dances of the Khmer people. This dance is performed during festivals and it is both sacred and welcoming to the gods as well as artistic and entertaining. Therefore, during festivals and festivals of the community, there is Chhay - Dam dance (such as during Chol Chnam Thmay festival, Ok Om Bok festival, Dolta festival). Chhay drum - a piece of percussion, one side of the drum is covered with buffalo leather, the drum is made from hollowed-out old areca trunks or old jackfruit wood and the strap is made of fabric. In addition to the Chhay - Dam drum, there are other musical instruments such as the Cuối (gong), Chul (cymbal), and Krap (Castanets). Chhay - Dam drum dance can be a single dance, a duo dance, a triple dance, or a fourth dance and there is usually a group dance with a team of 12 members. When dancing the drum, the dancer wears the drum in front of his belly. The basic movements of Chhay - Dam drum dance are drumming (using the hand to tap the drum surface, using elbows and heels to hit the drum surface), drum dancing (dance movements similar to martial arts positions), and hand dance. To be able to perform the movements in the Chhay - Dam dance, the dancer must have health, and flexibility, and know how to skillfully combine the rhythm of the drum with physical gestures. Most notably, the drum dance performer must tap and dance in combination with rhythm and precision down to the smallest detail. When drumming with hands, elbows, or heels, it must be combined with acrobatics but must still ensure a "fluttering" sound. While tumbling, you must hold the drum tightly to your body without letting it touch the stage, making a crashing sound.

Silat is a combative art of self-defense and survival rooted from Malay archipelago. It was traced at the early of Langkasuka Kingdom (2nd century CE) till the reign of Melaka (Malaysia) Sultanate era (13th century). Silat has now evolved to become part of social culture and tradition with the appearance of a fine physical and spiritual training. There are many styles of Silat which inspired by the movements of human anatomy, nature and animal in which the name of the Silat would be known, for instance, Silat Harimau (Tiger) inspired by the movement of tiger been creatively forms the art of self-defence and attack by initiating a tiger in positioning one's hands, legs and body texture movement. The imitation in an aesthetic rhythmic motion which actually portray the art of the particular Silat. There a variety of Silat styles. In Malaysia alone, there are more than 150 known Silat styles such as "Seni Silat Gayang Lima" "Seni Silat Pukul Buah" "Silat Gayong", "Silat Bunga", "Silat Melayu", "Silat Cekak", "Silat Pulut' and so on. Silat is a martial arts that consists of bodily, spiritual, intellectual and aesthetic emotional movements. The learning of Silat fosters agility, skill, thoughtful, strategic, bold, confident, diligent, creative and courteous. The names of different types of Silat which identify each of its community is derived from the names of natural elements such as animal, plants or any existent found in the environment of Malay nature itself.

Malaysia 2018

The festival is held on the 5th and 6th of January at Hào Pagoda, associated with the merits of Buddha Emperor Trần Nhân Tông and three tutelary gods including layman Nguyễn Danh Quang, Nguyễn Danh Nguyên and Lý Đình Khuê. The villagers organized a procession of Saint tablets and offerings from the 5 villages to the pagoda, offering incense and worshiping the Ancestors. In the past, each family had a palanquin to receive communion. Nowadays, it is replaced by procession. The feast is elaborately prepared and presented with many regulations. Early in the morning of the 4th, dragon palanquins carried the conferments from Hào pagoda to Đụn communal house to hold the ceremony. On the 5th, the procession of ordained people returns to the pagoda and continues the ceremony. There are 16 men participating in the sacrificial team, distributed according to zodiac signs. Weeks of worship include offerings of flowers and incense and thanksgiving. On the 6th day, the village takes the conferred ordinations to the temple to worship the three tutelary gods to worship. In the procession, 8 people carrying swords and spears will dance movements according to martial arts positions, reenacting the story of three laymen who fought left and right, commanding soldiers to fight the Mongol invaders. Festival: The unique feature of the Festival is the swimming competition, associated with the anecdote of King Trần Nhân Tông stopping by to visit the pagoda on his way. In particular, the first and second-best swimming teams will participate in duck-catching and rice-cooking competitions on the river. The rice cooking contest took place enthusiastically amid the cheers of the audience: the contestant sat on a boat with a firewood stove cooking rice; Both keep the rice cooking fire and rice cooker safe and prevent other boats from cooking rice by splashing water, however, do not fall directly into the kitchen. The team wins when the stove does not collapse, the rice is cooked first, and it tastes better. The duck-catching game is also unique: the person who catches the duck still has to dive underwater, use their hands to dig out the duck's gizzard, and then hold the gizzard in their mouth before emerging.

Kỳ Yên Peace Begging Festival at Bình Thủy Communal House, Can Tho city, is held twice a year: Thuong Dien (mid-April lunar calendar) and Ha Dien (mid-December lunar calendar). In which, Ky Yen Thuong Dien is the biggest festival of the year at the communal house, held on April 12-15 of the lunar calendar to pray for favorable weather and a good crop. On the 11th, rituals take place to prepare for the festival, including: Opening ceremony of the three-door gate, land worship ceremony, offering to the ancestors, and presenting the birth ceremony. The festival includes the following rituals: Than Nong worship ceremony, Thay Khăn sắc Thần Ceremony, Xay Chau - Dai Boi Ceremony, Chanh Te Ceremony, Son Quan worship ceremony... Early in the morning of the 12th, the Than Nong worship ceremony takes place at the temple to commemorate the God of Agriculture. The offerings are the three animals in the previous day's presentation ceremony, which have been slaughtered and roasted pig, wine, cakes, fruits, incense, and lamps... Next, the first ritual is the ceremony to invite the divine decree to travel by royal palanquin, after which the procession returns to the communal house for the enthronement ceremony. While the divine decree is traveling, families on both sides of the road set up trays of offerings to welcome the god to pray for health, peace, and prosperity. At noon, at 12 o'clock, is the ceremony to change the divine decree's scarf. The celebrant performs the ceremony to ask for a new scarf for the decree. After that, there is the Xay Chau - Dai Boi ceremony at Binh Thuy communal house, in the form of building a semi-literary and semi-martial art, harmoniously and balancedly combining the literary and martial arts of the Xay Chau. Before starting the Xay Chau ceremony, the celebrant performs the ceremony to invite Thanh Hoang to attend and listen to the opera. After that, the Chau drum beats with 360 drumsticks to begin the ceremony. The Xay Chau ceremony represents the meaning of opening the supreme ultimate, harmonizing the two principles, and praying for peace. The Dai Boi ceremony is performed by the actors and actresses in the opera troupe, materializing the Xay Chau ceremony with the image of the characters combined with costumes, dances and lyrics through the rituals: nhat thai (nhut tru), luong nghi, tam tai, tu tuong, ngu hanh in sequence with the number of performers: 1, 2, 3, 4, 5… On the morning of the 13th, there is a ceremony in the main hall. On the morning of the 14th, there is a Tuc yet ceremony to welcome the gods. Special offerings include a shaved pig, 1 cup of blood, 1 cup of hair. After the celebrant reads the Van Te, it is burned. On the morning of the 15th, there is a Chanh Te ceremony, the most important ritual in the temple worship ceremony. This is a ceremony to worship the Gods during the Thuong Dien festival, to thank the Gods, to worship the Ancestors, and to worship the Later Ancestors. The offerings to the Gods are a white pig, a cup of blood and other offerings. After the Chanh Te ceremony is the Ton Vuong ceremony performed by the opera actors of the Ban Te Tu Dinh. Next is the Son Quan worship ceremony at Son Quan temple, also known as Ong Ho temple. In addition to the rituals and performances of traditional opera, Binh Thuy Communal House Festival also organizes activities such as: sticky rice blowing contest, local cuisine performance, traditional opera singing, along with folk games such as: boat racing, tug of war, pot smashing (blindfolded), sack jumping... attracting many participants. The Kỳ Yên Peace Begging Festival at Bình Thủy Communal House with its humanistic rituals is an opportunity to unite the community, people gather to have fun and relax to start the new crop. The Kỳ Yên Peace Begging Festival at Bình Thủy Communal House is an important testament to the history of Vietnamese settlement in this land. The royal decree and the communal house worshiping Thanh Hoang show the recognition of the monarchy in terms of administration and the formation of villages and communes. With its typical value, the Kỳ Yên Peace Begging Festival at Bình Thủy Communal House was included in the List of National Intangible Cultural Heritage by the Ministry of Culture, Sports and Tourism in 2018.