Inscribed in 2012 (7.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Nearly every Korean knows and enjoys singing Arirang, which is not just one song but a variety of local versions handed down throughout Korea. Experts estimate the total number of folk songs carrying the title ""Arirang"" at some 3,600 variations belonging to about 60 versions. Arirang is essentially a simple song, consisting of the universal refrain Arirang, arirang, arariyo, and lyrics that have developed differently from region to region. The most typical lines express a universal sentiment: Arirang, arirang, arariyo; Over the Arirang hill you go. (refrain) Leaving me, my love, you'd go lame before three miles. (lyrics) The lyrics were not created by any particular individual, but an outcome of collective contributions made by ordinary Koreans through generations. They convey joys and sorrows of common people arising from love, parting with the beloved, troublesome in-laws, or national struggle against foreign invaders. Affection for Arirang is evident throughout today's ultra-modern Korean culture, well beyond the realm of traditional music. Arirang has been rearranged into modern ballads, rock 'n roll and hip-hop, as well as symphonic pieces, appealing to a wide array of audiences and striking a chord with Koreans; it is often described as their unofficial national anthem. Olympic champion Kim Yu-na skated to an Arirang theme, ""Homage to Korea,"" at the 2011 World Figure Skating Championships. Arirang is also one of the most recognized cultural symbols and is widely used as a theme for movies, dramas and soap operas, and names of commodities, restaurants, and broadcasting companies.

South Korea 2012

Inscribed in 2015 (10.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Tugging rituals and games of Vietnam have different characteristics, meanings and rules. The element is held as part of village festivals in Spring, a form for communities to pray for abundant harvests and prosperity, marking the start of a new agricultural cycle. Tugging game symbolizes the power of natural forces like the sun, water source that influence the harvests. In some localities, tugging game is associated with the legends of worshiped heroes for their merit in reclaiming the land, fighting against foreign invaders, protecting prosperous life of the people. It is usually held at the communal houses or temples after the rirual of commemoration of local guardian deities finished. The material used for tugging varies from region to region, reflecting the ecological and cultural context of each community, it can be made of bamboo, rattan stems, or ropes. The procedure for selecting teams or players is in accordance to the ritual rules, and the winning or losing team is regulated by customs to express certain religious meanings and the harmony of nature. Nowadays, tugging rituals and games are popularly known as a folk game that is entertaining, sporty and collective.

Cambodia,South Korea,Philippines,Viet Nam 2015

Knowledge of the Kyrgyz concerning treatment and use of medicinal plants is distinguished by depth and diversity. It contains knowledge and practice about harvesting, drying, and storing medicinal plants, and their use in traditional medicine. Different tinctures, decoctions, ointments, and powders made of plants for treatment purposes are used today in traditional medicine to treat bleedings, heart deceases, kinks, scabs. Except plants, natural objects, minerals, and animal limbs are used in traditional medicine. The so called psychological treatment methods such as spells and exorcisms were used in the past, to which the Kyrgyz, rarely, but still resort to nowadays.

‘Chuko atmay’ is played with ‘alchiks’ (dices). Participants draw a circle with a diameter of 3-5 meters. Alchiks are placed in the middle of the circle. Order of the game is determined by throwing of ‘saka’. Two shot lines are drawn one meter away from the circle from two sides. If an alchik is beaten out of the line after the first successful shot, other shots are carried out from the circle’s line. In case of unsuccessful shot, other player takes a turn. The player, which shots out the largest number of alchiks, wins. ‘Ordo’ is one of the most spread games of the Kyrgyz. The word ‘ordo’ itself means ‘khan’s bid’. The game reproduces a battle for the capture of bid and represents some kind of a military map. A circle drawn on the ground means the enemy territory, and opponents frame a plan of the battle. Skills of leading the right interior policy are in the basis of this game as well. Ordo is played by two teams (6-10 people at each team). Playing order of the game goes in the round or by using elimination principle. Duration of the game is about two hours. The essence of the game is to strike the khan’s ordo placed in the center of a circle (16 meters in diameter) with the abalak (bat), as well as to push khan himself and voivodes (generals) out of the circle. The team, which strikes the largest number of voivodes out of the circle, wins. ‘Kan talamay, Upai’ is a traditional game with dices of ovine knee joints ‘chuko’. Players are divided into two teams consisting of 2, 4 or more. The number of dices needed for the game vary from 13-37 or more. The purpose of the game is to collect as much upais as possible. The largest dice is determined as ‘khan’ and dyed into a vivid color. Starting player takes all dices in his joint palms, placing khan in the center, and scatters them all onto the carpet. The first player tries to strike the khan. If the target is hit, the player continues to play, and in case of a failure – the next player enters into the game. Shots are done by the dices with equal position. There are also special regulations

This article 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. One must decolonize one’s thinking one is to understand the nature of itaukei spirituality and its ideology. Few research have unpackaged the significance of the vanua, nevertheless in its simplest form; the vanua comprises of seen and unseen elements. Nowadays, some itaukei have abandoned their traditional roles and its customs, some have prohibited the consumption of kava. But on the other hand, they are content with traditional itaukei artifacts and crafts. Others have indicated the irrelevance of culture yet when asked of their identity, without hesitation they state their place of origin. As there are traditional beliefs surrounding yaqona consumptions and traditional ceremonies, there are also traditional beliefs associated to traditional crafts and the ancestral guardians of the vanua. An example of a traditional craft with spiritual powers is the masi, also known as the isulu ni vanua (attire of the vanua), it links the physical and the spiritual world. It is worn by newlyweds to protect them from outside influence before the marriage is consummated, it is hung at homes as protection. (Hulkenburg J, 2009:67, 68). In the past, chiefs were regarded as representatives of gods on earth, they were considered sacred because of the sau and mana they possessed. The vanua is protected and respected because of the powers (sau and mana) the chiefs possessed. Yet, it was unreasonable for the people to continue to revere their chiefs when they cease to believe in their ancestor-gods (Thomason B, 1908:111). In Fiji, both Fijian history and Fijian traditional religion are hard to trace and attended with considerable difficulties. (Tivi. D. 2018:39)

Beldemchi is a Kyrgyz women's clothing, which is a short hip swing skirt sewn to a wide belt. It is typically worn over the dress. Beldemchi had several variations in the past. Like so, in the North of Kyrgyzstan, beldemchi was sewn from black velvet with lush gathers at the waist and was decorated with embroidery. On the contrary, in the South, beldemchi was made of coloured velvet or semi-silk fabric without embroidery, sewn from several slanted wedges, without gathers. Beldemchi was worn by married women. After the childbirth, women put on a beldemchi, which thoroughly protected the body of young mothers from the cold, while not restricting their movements. Depending on the purpose, it was made of homespun cloth or expensive materials. If it was a festive clothing, it was sewn from silk, leather, velvet, decorated with elements of fur, embroidery, silver and beads. However, there was no embroidery or other decorations on casual beldemchi, which was worn by women daily.

With a history of about 700 years, founded by farmers. The art of Water Puppetry in Nguyen Xa and Dong Cac is associated with the water stage and traditional Cheo art. The plays are closely associated with the lives of farmers in the North. They created and preserved many special plays such as: Bat Tien Dance, Couple Swing, Ngu Phuong Play. The "lion dance" of Water Puppetry in Nguyen Xa and Dong Cac is unique in the whole country. The uniqueness right from the name "Water Puppetry" is that water is used as the stage for the performance. The surface of the pond is both the stage, the environment, the scenery, and a supporting character for the puppets to operate under the skillful control of the artists. In the art of water puppetry, the puppets are the direct actors and the most important technical facilities contributing to the success of the plays. The most diverse types of puppets from Uncle Tieu to Master Duong Tang, from large unicorns to small, cute ducks and fish... Uncle Teu from Nguyen village (Nguyen Xa commune) has become a familiar character, with the image of a healthy, plump, plump, rosy-skinned farmer with a cheerful smile without a trace of thought. Teu is a character that often appears at the beginning of the show, controlling the program, teaching students, maintaining order... very close to the optimistic and life-loving farmers who know how to take advantage of laughter in production and combat. In theory, they control the puppets with strings and poles, but they have their own secret to create the liveliness and charm of the water play. There is also a special puppet-making technique here. They do not pass on the profession to outsiders and girls. This is the cradle of training and teaching students for the Central Puppetry Theater. They are also invited to perform diplomatically in many places around the world. The art of water puppetry is a synthesis and multifaceted combination of many elements, creating uniqueness, magic and attraction from the stage, the play room, the puppets to other magical elements such as the machines controlling the artists, the plays and the stories. The art of Water Puppetry in Thai Binh is the crystallization of the creativity, intelligence and ingenuity of the people created over many generations and lasting over time.

Worshipping practices of sacred sites in Mongolia have been developed in specific cultural space of nomadic lifestyle in the vast grassland steppe of Central Asia. One of the main characteristics of nomadic culture is its close relationship and harmony with nature and environment. These practices, according to ancient shamanism, are based on belief in the existence of invisible deities of sky, earth, mountains, and all natural surroundings. Furthermore, Mongolians believe that these deities exist on the top of the mountain or any hill between sky and earth and choose these places as sacred sites for the worshipping for and offerings to these deities. They pile up Ovoos (stone mound) in these places and perform worshipping rituals and ceremonies. All participants at the worshipping rituals ask a deity to bring a timely rain, to protect humans and livestock from natural disasters, and to bestow prosperity and blessings on the participants and local people of given areas. In early times, sacred sites were worshipped with shamanic rituals and these wonderful traditions were later enriched with Buddhist teachings and rites. In a sense of respect and symbol and in geographical importance, sacred mountains, hills or the head of rivers in general have become as a cradle (centre) of the natural and cultural areas concerned and create a specific socio-cultural space and a unique cultural heritage landscape. These sacred sites are the symbol of cultural identity and spiritual cohesion of local people concerned and a sacred site for performing worshipping rituals and organizing important social events and ceremonies of given communities. Researchers regard the worshipping practices of sacred sites as multi-functional and multi-content cultural heritage element. The worshipping rituals in Mongolia have originally been conducted by the kin group and later by the local and indigenous people of a specific areas and further by specific representatives of State authorities and interested people at national level. The procedures and ritual order of worship ceremony are usually similar but some differences can be observed in regards to local customs and traditions. In different places, the people who lead worship ceremony are variously called as the owner of Ovoo or head of Ovoo. Those experienced people should be native and respectful people. In rare occasions, if a ritual is conducted in the way of shamanic tradition, a shaman leads this ritual ceremony. If it is a Buddhist ritual, a monk leads a worship ceremony. The key organizer consults with respectful elders, the head of the Buddhist monastery or shaman about the time for conducting ceremony. Timing is determined in accordance with traditional astrology. Once the time is set up, the day of worship is publicly announced. A worship ceremony is often conducted during the summer and/or autumn of the year. In the early morning before sunrise, all participants, in their best dresses, carrying offering food and items, start to head towards the Ovoo together with their young children. Bringing young children to the worship ceremony allows the youngsters to learn the customs and traditions of the community. Before starting the worship ceremony, varied coloured ceremonial scarves are tied to the main wood that is placed in an Ovoo and a hand-made figure of the deity is placed on white cotton in front of the Ovoo. Offering food and items are also placed in front of the Ovoo. Honourable guests, usually elders, sit in the north west direction of the Ovoo. If the State worship ceremony is performed, a state official opens the ceremony by reading an official decree issued for particular worship ceremony. Buddhist monks sit in the north east direction of the Ovoo. There should be more than three monks. Monks should possess knowledge of how to recite (sutra) offering texts with the use of various musical instruments. Sometimes the elders recite offering texts. Offerings including dairy products or cooked meats are placed in the east of the Ovoo. Various aromatic substances such as juniper’s needle, wormwood and wild thyme are burned as a sanctification of the sacred site. The procedure of the ritual ceremony starts with invoking deities and nymphs to come to the offering site then followed by presenting various offerings to them. After making offerings, participants of the ceremony make requests to deities and nymphs to grant richness in livestock and bestow success and prosperity on them. Monks chant sutras dedicated to this mountain and Ovoo. Meanwhile, an arrow called as bringer of auspiciousness is shot towards the sky and mark out any livestock animal as being consecrated to a divinity. Following the ceremony, a festival of horse racing, wrestling and archery competition as well as singing and dancing take place immediately. This tradition is highly considered as one of unique and humane intangible cultural heritage of Mongolia. - Locals participate at sacred site worship ceremony on a voluntarily basis. The local elders personally teach younger people how to attend and behave at the worship ceremony. A sacred site worship ceremony brings all community members together and builds a sense of community and solidarity. - The worshipping natural environment creates more awareness among the people about interdependence between human beings and the environment and creates more respect for the nature. This is one of the best environmental protection methods that has been preserved by the Mongols since ancient time. - The ritual procession is based on Mongolian folk beliefs, literature, poetry, song, dance, rituals, festive events and as well as handicrafts. Thus, the sacred site worship ceremony preserves those ICH elements through time. In sum, it is clear that worshipping practices of sacred sites have immeasurable value both in transmission of ICH and as a source of public education, identity and pride. At the practical level, these practices play an important role in maintaining ecological balance and the preservation and protection of biological and cultural diversity. This heritage significantly contributes to the protection of our natural environment and wildlife as sacred and pristine.

Mongolia 2017

The Thái people in Mường So, Phong Thổ, Lai Châu have over 30 Xoè dances, but all of them originate from six ancient Xoè dances: Khắm khăn mơi lảu (raising a scarf to invite wine), Phá xí (bottle), Đổn hôn (back and forth), Nhôm scarf (toss the scarf), Ỏ lọm tốp mư (circle of applause) and Khắm khen (holding hands). In addition to fan Xòe dances, scarf Xòe dances, hat Xòe dances, and music fruit Xòe dances, Thái people also have many dances named after events, content, and props, such as xòe chan khon, xòe kếp phắc, xòe kếp bók, etc. Xòe here also originates from the songs and dances associated with thirty-six farewell songs to Then (Heaven). However, the unique features of Xòe in Lai Châu are associated with the White Thai community. Mường So, Phong Thổ is the cradle of famous Xoè dances and Xoè dances in history, associated with the "Thái kings" of the Đèo family. The "Xòe Đèo Team" with hundreds of beautiful and talented girls once went to France to perform. Many Xòe dances associated with props have become "trademarks" of Thái Xòe here such as Xỏong, fans, scarves, and hats. The rhythm of stepping up, forward, backward, holding hands to form an inner circle, the outer circle and inner circle walking parallel, the outer circle and the inner circle going back and forth are the unique features of the community here. Accompaniment instruments in ancient Xòe include 1 drum, 2 gongs, and 1 cymbal. Xoe dance rhythm has 3 repeating melodies symbolizing 3 souls: heaven, earth, and humans. In the middle of the Xòe circle of the ancient Thái people, there was erected a trimmed pole - the tree of all things, on the tree hung the shapes of land and water animals, the moon and the sun, woven from bamboo or carved from wood. At night, you can spread around the fire - the fire is both the center of the spreading circle and provides light for spreading at night. Xoè dance helps people forget the fatigue of everyday life so that after the Xoè festival, returning to everyday life, people love work and life more.

Viet Nam 2021

Embroidery is a type of needlework. Beauty of Uzbek embroidery, ancient origins of its patterns and diversity of techniques applied indicate to the fact that this craft has passed a lengthy process of historical development, and has rich traditions. Large-sized decorative embroidery can be divided into several types: suzani (wall-mounted panels; literally - "needle"), nimsuzani (literally - "half of suzani"), ruyidjo, joypush yakkandoz and choyshab (bedspreads and bedsheets), takyanpush (pillow coverlet), oy-palak and gulkorpa (Tashkent versions of suzani), sandalipush (coverlet for sandal), zardevor, dorpech or kirpech (embroidery used for decorating upper parts of walls), joynamoz (prayer rug), bugdjoma (coverlet for blanket), beshikpush (coverlet for cradle), etc. Embroidered items of small size are represented by oyna-khalta and shona-khalta (sacks for keeping mirror and comb), qiyiqcha, miyonband, chorsu and belbogh (versions of men's waist kerchiefs), doppi (skullcap), sarpokkun, qoziqlungi and tanpokkun (long towels with embroidered ends), bugjoma (linen used for wrapping dress), sarandoz and romoli-peshonaband (types of head shawls and headdresses for women), dast romol (handkerchiefs), jiyak (embroidered edges used for decorating certain elements of a dress), etc. Ornamental pattern and composition of embroidery depended on its practical purpose (i.e. for what purposes it was used). Main embroidery motifs are symbols of cosmogonic origin (i.e. sun, moon, stars in the form of large and small rosettes), vegetative and geometric patterns, stylized images of animals and birds. For embroidery of Uzbekistan peculiar is application of distinct technique of sewing, i.e. complete sewing of large surfaces of the pattern, and leaving (relatively) small area for the background. Also, different types of one-sided satin-stitch and chain-stitch are used, which fill motifs of an ornament completely. Satin-stich can be of two types, i.e. "bosma" and "kanda-hayol". There are different types, patterns and traditions of embroidery, depending on their belonging to their respective regions: Bukhara, Fergana, Shakhrisabz, Nurata, Tashkent, Fergana, etc.

The art of chakan embroidery is a kind of sewing ornaments, image of flowers and symbolic drawings with colorful threads on cotton or silk fabrics. Usually with chakan embroidery masters sew women shirt, national cap, pillow, bedspread, headscarf, towel, curtain, coverlet for cradle, curtain for wall decoration and etc. In the chakan embroidery are used symbolic depictions and mythological images related to the nature and cosmos, which express people’s wishes and hopes

Carpentry, craft of working with wood. Carpenters with wood make cradle, box, dish, musical instruments, table and chairs, furniture, door, windows and etc.