Craft of making baskets and other containers with branches of trees and bushes.

The people of Qoma Island (Fiji) for generations have been traditional fisherfolk for the Ratu mai Verata, the overlord of Verata, an ancient kingdom in today’s Tailevu province. They also serve the Ratu mai Dawasamu and are administratively under the Ratu of Namena with the present system of provincial administration. All come under today’s Tailevu province on eastern mainland Vitilevu. They are renown for their traditional knowledge of fishing in observing the ocean currents, wind direction, the sky, understanding their fishing zones, the seasonal and temporal nature of fishing activities. It is their traditional obligation to present turtle to the chiefs of Verata and Dawasamu. There are established traditional protocols; from catching turtle to its presentation process, its taboos and strict adherence to elders who will be leading the delegation.

Tshar-zo, the age-old tradition of working with bamboo and cane is a popular art, spread and practiced throughout Bhutan. The availability of numerous species of bamboo and cane has enabled the Bhutanese to master the skill of weaving these raw materials into a variety of articles for various uses. Throughout Bhutan, the use of bamboo and cane products has always complemented the use of wooden items, forming an integral part of the lifestyle and economy of the people. Bhutanese farmers weave a variety of functional bamboo and cane articles used for a variety of domestic, agricultural and commercial purposes. Bamboo (Neomicrocalamus andropogonifolius), is locally named Ringshu in Dzongkha and as Yula in Khengkha. Cane (Calamus acanthospathus) is locally known as Munzi in Sharchopkha, and as krath or gren in Khengkha. These are the two common species used in the production of a variety of articles. Bamboo and cane strips are used in their natural colour or dyed into yellow, black, red, green, maroon and brown, to weave colourful articles with geometric designs.

A unique female-dominated performance held only on the 8th and 9th day of the 7th lunar month in the two communities of Ura-ma-krong (main village of Ura) and Shingkhar, the farthest settlement under Ura gewog (block) in Bumthang Dzongkhag (district). In Ura dialect, Intangible Cultural Heritage (ICH) is usually called Saang (smoke offering). It is said that in the old days, when there were yak herders who usually came from their village to raise the yaks at Purshey la (one of the mountains overlooking Ura village), they welcomed the female performers by burning sang at Korgang (the place believed to be the place where the deity descends or dwells and where the female performers circumambulate the stupa). Hence, community members refer to the festival as Sang or Sang na gai-sang (on the way to the Sang offering). Another interpretation states that the female participants begin their offering by making various medicinal herbs and other fresh offerings go up in smoke while appeasing the main female deity named A-shey Lhamo and her entourage, namely Gawa Lhamo, Kiba Lhamo, Champa Lhamo, and Dropa Lhamo. However, in addition to the aforementioned attendant goddesses, Shingkhar A-zhi (pronounced locally) Lhamo has Lam-dron Lhamo forming five attendant goddesses. Therefore, the festival and performance were called Sang from the first offering. The other name of the festival, A-shey Lhamo, is interpreted literally by outsiders and some learned community members as the lyrics of the religious song sung and danced in honor of the deity A-shey Lhamo. Colloquially, the term A-shey is addressed to either the queen or the elder sisters, and Lhamo is a general term for the divine goddess. The origin of Sang or A-shey Lhamo is that during the Dung Lhawang Rabgay (local ruler), not long before the emergence of the Dung caste system in Bhutan around the 10th-11th century, there was a misfortune of Shey-ned (diarrheal infection) that spread among the children of the Ura community. People sought the advice of their ruler as there was no tradition of performing rituals or treatments. Thus, Dung Lhawang introduced Drakpa, who had a divine bloodline, to appease the female local deity by performing dances. He composed the lyrics in the typical Ura dialect and ordered that they be performed by female members of the community. The Lord also determined the place: Pur-shey la (written Pur-gyal la) along with the things to be sacrificed and also the steps. Following the advice, the women performed the dance, which gradually helped the children recover from the epidemic. After that, the performance of A-shey Lhamo was practiced. According to the origin, A-shey Lhamo and the goddesses accompanying her are both the deities of the place and deities of the Bon khar tradition. Perhaps they are the other form of Tshering chey nga (the five sisters of longevity) who appeared in the Bon tradition before they were introduced by Guru Padsambava as the tutelary deity of Buddhism, just as many Bonpo deities were later transformed as protectors of the sacred teachings of the Buddha. In the poetry of A-shey Lhamo, it is mentioned that they reside in the high mountains Gang-toed thoen po. The road to their citadel is like a mule track, filled with the sweet fragrance of Ba-loo (Rhododendron ciliatum) and Su-loo (Rhododendron setosum). She delights in the first share of Mar-chang Ara (locally brewed wine) and Kara and Buram (honey and brown sugar) and sits down on the white sheepskin mat. She resides gracefully in a palace of precious gems with golden columns and silver windows. Apart from the above description of her residence, there is no text describing her appearance, only the names of her sisters and the goddess herself. This ICh element is still alive in Ura and Singkhar communities. However, there are some changes: The sang is now prepared and offered by themselves since there are no more highlanders at Pur-shey la, and the other is that, according to tradition, the sang is generally performed on the 8th and 9th day of the lunar month but, the community members decided to either coordinate the festival on 15th day if the time and weather is not favourable.

Death is often considered as a great loss but not more than the fear incurred from the unnatural deaths; such as accidents from falling off a tree or death caused due to an encounter with wild animals as they strongly believe that death has been caused from dishonoring the deities or by evil spirits or by bad spells from somebody. They conduct very elaborate ceremonies to appease the spirit of the deceased and deities, especially the deceased with food and drinks so as to prevent misfortune to the surviving people. Lhops believe in the dual existence; that when death occurs, the soul, Se-hok, leaves the body and dwells in the emptiness for certain period and later joins the world of Sim-pu (death).

Tea culture is an essential part of social and cultural life and is an important social practice aiming to show hospitality, celebrate important moments in lives of communities and helping them to build and maintain social relationships and enjoy moments by drinking tea for social exchange and interaction. It also represents knowledge, traditions and skills linked to cultivating, preparing and drinking tea by communities in Turkey and Azerbaijan. Tea is an agricultural plant the leaves and buds of which are used to make beverage. Tea plant transforms into dried leaves after steps such as plucking, withering, disruption, oxidation and drying. Although there are different types and brewing techniques in both countries, communities harvest and consume mostly the black tea. Traditional techniques used in preparing and harvesting tea led to development of special tools and vessels such as teapots, samovars, silver tray, woven tea baskets and tea plucking shear. Communities brew tea by using a great variety of kettles, produced in traditional craftsmanship, called “çaydan” or “çaynik” in Azerbaijan, a double container called "çaydanlık" (tea pot) in Turkey and samovar in both countries. Water is boiled in the larger pot and tea leaves are added to the smallest pot. Samovar is a traditional copper, clay, metal or brass container used to heat and boil water for brewing tea in smaller teapot, which is put on samovar. This method allows people to drink tea as they desire: strong or light. In rural areas especially, communities use metal samovars or “çaydanlık” heated with wood. Tea is traditionally served in special pear-shaped cups called “armudu” (literally, “pear-like”), made from glass, porcelain, faience, and silver in Azerbaijan and similarly small tulip-shaped glass, which is called “ince belli bardak” (thin waist glass) in Turkey. Communities traditionally serve tea freshly, brewed and hot, accompanied with various sweets, pastry, sugar, slices of lemon, jams and dried fruits. In different regions of Azerbaijan, communities also add local spices and herbs to tea, such as cinnamon, ginger and thyme. There is a special style of drinking tea with sugar called “kıtlama” or “dishleme” in both countries. In this style, tea is drunk by placing a piece of sugar between tongue and chin instead of pouring sugar directly into glass.

Azerbaijan,Turkey 2022

The main function of "Chang-Er" is used for winnow rice, beans, sesame, and so on. Besides, it can be used for drying other things. There are three types of Chang-Er and they are Chang-Er om (for winnowing), Chang-Er Krong (for drying things), Chhnang Kolobei (which is smaller and has a shallower expression than Chang-Er om used for drying things). The main material used for making Chang-Er is bamboo. The first weave the bamboo and cut it into shapes according to the size of Ehang-Er and split it into small squares of about 5 centimeters. Then put it on a small, thin strip and seal it neatly, the bamboo center section is called the "Bantos Antorng" and the back section is called the "Bantos Tbanh" Also, they have to soak the closed bamboo board in water for 2 or 3 days before weaving. The first stage is called "Antorng or korbat" After extracting Bantos from the water, you can weave them together until it has the smooth shape of chang-er. The next step is to take the woven skein to put it in a “Kandab” bamboo skewer with a round shape on one side and a flat one on the other side and bend it in a circle according to the shape of the Chang-Er. In order to place the Kandab Chang-Er, the woven skein is bent around to make it rise, and then Bantos Kandab is used to pinch both sides around the place where the punch is made until it is completely formed. Then they use a sharp iron (called a "Jak Kantob") and "Knouch" (a double-strand rope made from Phdao) to tie around the crotch so that the woven Chang-Er does not slip out of the Kandab. Finally, the woven Chang-Er will be lightly roasted in the kiln, which is dug into a hole about half a meter deep. There is also another to make chang-er in closed walls with a roof like a hut. Before roasting, water is poured on the stove to moisten it slightly to prevent the ash from heating up. For Chang-Er that do not have walls and roofs, old mats are used to cover Chang-Er to keep a good heat. The fire must be taken care of carefully, because if the fire is too strong, it will burn, but if the fire is too low, the Chang-Er will not be red.

National Intangible Cultural Heritage, Republic of Korea Wanchojang refers to an artisan with the skill of making objects with sedge (Cyperus exaltatus, wanggol in Korean), which is an annual/biennial plant that grows in a wet rice paddy or swamp. It grows to a height of 60 – 200cm. Sedge is used to make mats, seat cushions, and baskets. According to Samguk sagi (History of the Three Kingdoms), sedge was used during the Silla Period (circa 57 BC – 935 AD). During the Goryeo Period (877 – 1394), a sedge mat was laid on the place where the deities of the State are enshrined. Sedge mats were used chiefly in royal palaces, and they were also sent to China as gifts. During the Joseon Period (1392 – 1910), sedge mats were used mostly in royal palaces or in the homes of upper class people. In foreign trade, the mats made in Korea were regarded as luxury goods. Sedge products are made either manually or with tools. Mats and cushions are made either with a coarse weaving technique with warps exposed or with a close weaving technique with warps not exposed. As for the manual weaving method, eight warps are entwined to form a “井” shape and then two wefts are woven into it to make round or octagonal cushions and baskets. Production of sedge goods once went through the doldrums, but it regained strength in the 1970s and thereafter. Up to now, sedge has been used chiefly to make mats and baskets, but it can be used to make many other objects without the need for special tools by adjusting the colors and the thickness of warps and wefts.

"Prahok" is an essential reserve food for Cambodian farmers in rural areas because it is a kind of fermented food that can be stored for a long time. There are many Khmer dishes that use prahok as an indispensable ingredient, such as Kor Ko and Teuk Kreoung. Apart from being an ingredient, Prahok can also be made into a separate dish, by adding some ingredients to your liking, such as grilled Prahok, Prahok Ktis, Prahok Kreoung, raw Prahok, sour prahok, etc. Making prahok for ready-to-eat food has been a tradition for a long time. Most of the villagers, especially the residents living near the rivers, canals and lakes, during the low water season, which is the rich fish season, that is, from the month of Bos to the month of Phalkun or the month of Chet, they often travel by cart to the river to do fishing or buy fish to make Prahok. Therefore, there is rarely a family that does not make prahok, although some people are short of money, they try to make Prahok as much as they can afford; while some even borrow money from others to make Prahok. Some locals buy fish to make at home, while others stay by the river until the Prahok is ready before returning home. Not only Prahok makers but also fishermen have to stay there to fish day and night as it is a lucrative opportunity. Therefore, as long as it is the season for Prahok fishing, they often see many shelters along the river. Most of the fish used to make Prahok are small fish, such as Riel fish or Lihn fish. But some rich people also use big fish like Ros fish, Chdor fish, Kha Ek fish, Sorn Dai fish ... to make Prahok. It is a kind of meat Prahok (boneless Prahok) that is delicious and expensive. There are only two main ingredients for Prahok: fish and salt. First, the fish has scraped off the scale, the head is cut off, the abdomen is removed, and then the fish is placed in a Jeal or Kom Broang or jar. Prahok makers will step on it with their bare feet to remove the scale fish and fish oil in a nearby river or stream. Cleaning by stepping on it is an important step because if the fish oil is not completely removed, Prahok will smell bad and be unable to eat. Therefore, the washing process must be done several times until the fish is white. This cleaning requires a lot of water and this is also the reason for those who make a lot of prahok to stay by the river to easily wash the prahok. After washing, the fish are extracted and placed in a bamboo basket with small cells to keep the fish dry. When the fish is dry, the fish is salted. Spilling salt is not done all at once, it is done three times. First fermentation leaves it overnight to harden the fish. The next day, they put the fish under the sun for two hours. Then it is salted for the second time and then left to soak for 4-5 days, then it is salted for the third time and stuffed into a jar or jar using Ang Re, pestle. In order to make the Prahok stuffy and not cracked, you have to take a bamboo stick and snap it on top and pour salt water in. It is usually stored for 5-6 months before the Prahok tastes good and smells good. For the sellers, they shorten the storing period to 1-2 months old, which is caused the Prahok smells stinky and doesn’t taste good when it is cooked. When we take Prahok from the jar to eat, we have to press it back and sprinkle more salt on it so that it does not absorb air. Properly made Prahok can usually be stored for up to 4 or 5 years.

The Whale Worship Festival in Quang Binh is held on the 15th day of the first lunar month with the meaning of going out to catch seafood, wishing for a smooth sailing trip. In particular, the procession of the Thanh Hoang palanquin at the ancestral temple and the reading of the Than Ngu's funeral oration at Linh Ngu Temple are always the most unique parts of the Whale Worship Festival in Canh Duong. Fishermen, boat owners, members of cooperatives and cooperatives gather at Ngu Linh Mieu Temple and An Cau Ngu, offering incense and offerings to the Than Ngu - two giant whale skeletons that people often call Mr. and Mrs. whales. The procession consists of nearly three to four hundred people in beautiful traditional costumes. Along with that, the flags, parasols, palanquins, flowers... and boat models, along with the lion and dragon dance troupe, bring a vibrant festival atmosphere. The most important ritual part of the Whale Worship Festival is the reading of the Than Ngu's funeral oration. The most prestigious elder of the village is allowed to offer incense and read the funeral oration. The oration expresses gratitude for the protection and support of the whales and the whales for fishermen during their sea trips, as well as the fishermen's prayers for a peaceful and fruitful sea season. After the ceremony, there are festival activities with traditional folk games such as: basket shaking, boat racing, net weaving competition, etc. In addition, there are other activities such as: beach soccer, culinary competition. The Whale Worship Festival in the Quang Binh fishing village integrates many traditional art forms, folk performances, with their own identity and characteristics such as: bong dance, rowing on the can, swimming competition, etc. The most impressive is the rowing on the can - ho khoan performance, which combines the lyrics and melodies of smooth, lyrical tunes (including mai ba, mai nen, ho khoan); Unique is the running-word dance (or Dong Dang dance), which is a form of collective dance, holding flower lanterns while dancing, and arranging them into Chinese characters: "Thien-ha thai-binh", "cau ngu-dac loi" ... to pray for the country to be peaceful, a prosperous and happy life. The dance is flexible, combined and in harmony with the music from traditional instruments, such as: trumpets, sanh tien, xap xeng, drums ... The Whale Worship Festival in Quang Binh contains many cultural values and has an important meaning in consolidating the community. With its unique cultural and historical values, the Ministry of Culture, Sports and Tourism recognized the Whale Worship Festival of coastal people in the districts of Quang Trach, Bo Trach, Quang Ninh, Le Thuy, Ba Don town and Dong Hoi city, Quang Binh province as a National Intangible Cultural Heritage in 2018.

Sing-si is a type of oil/ghee produced manually. It is purely made with locally available materials and doesn’t mix any imported ingredients unlike the oil which are available in the market today. The main ingredient used is the Se-lung- a black small oily seed. Its scientific name is Parasassafras Confertiflora. The Se-lung tree is either wild or domesticated. Usually, in bygone days, it is believed that almost many villages had a trend of processing Sing-si, however, the trend wasn’t famous unlike Thongsa village under Chongshing Gewog (block) in Pemagatshel. According to grandma Nimdaza who is seventy-four years old, processing of Sing-si was part and parcel of their lives and members from every household were engaged in performing chores of Singsi production. Further she says that the labor contribution was also done depending upon the number of members present in the household. More than one worker was engaged from the household which had more family members. The materials needed were –Tsir (a small bamboo basket), Mar-kang (wooden block), plank, stones, Neetong-ma (pestle), frying pan, Luu (pounding stone). The Sing-si was used mainly for offering butter lamps. Other secondary uses were for human and animal consumption. Humans consumed it as there weren't imported oils available those days in the shops.

The origin of basketry in the Pacific can be traced back to the early European exploration that changed the islanders’ way of living. Intensive European exploration changed the attitude and economy of the indigenous people that ultimately led to the change in the nature of the artifacts made. Baskets during these early times were mainly used in trading. Basketry in the Pacific Islands share similar characteristics in one-way or another, whether it be similar designs or similarity in raw materials used. Mostly across the Pacific, coconut leaves are used to make baskets; from simple designs to complicated ones. Many Pacific Islands use reed or vines to make baskets as well, and in rare cases, from bamboo stems. Traditional baskets woven from bamboo stems can be found from a district in Fiji called Navatusila. This traditional basket shares some similar and different features in comparison to other traditional baskets across the Pacific. Navatusila, a district in the mountains inland on the main island of the archipelago, Vitilevu, is known throughout Fiji and perhaps around the world for its past that many believed was a turning point in Fiji’s Christian history. However, this event is part of history and needed not hinder the fact that Navatusila, like many Fijian traditional settlements, still practice traditional skills and knowledge that is unique to the people in expressing social and cultural identity. Nubutautau, a village in Navatusila, has a bearer of high knowledge and skills in weaving a traditional craft known as tabekasere. The knowledge and skills in weaving the tabekasere is only held in Nubutautau in all the Fiji Islands. This unique craft came to light post Cultural Mapping Program held in February 2016 by the Ministry of iTaukei Affairs, iTaukei Institute of Language and Culture. Thus, the bearer of knowledge and skills in making the itabekasere is recognized as a Living Human Treasure, as it was discovered at that time that a lone person possessed the knowledge and skills.