The ornament adorns all the objects surrounding the Kyrgyz from the moment of birth to the end of life. Nowadays, ornaments are very popular and used not only for decorating yurts and utensils but also for festive attires, jewelry, and souvenirs. Kyrgyz gave the patterns their own names identifying them with elements of their own and surroundings in the world around them. The shape of the symbols has reached us through the ages, almost unchanged. Kyrgyz ornaments include simple geometrical symbols, floral patterns, images of animals (both living and fantastic), nature, and stylized images of people. One of the most popular patterns are: ram’s horns, which repeats the image of this animal and represents prosperity or Umai ene, winged woman with a child, a spirit that represents fertility and protects mothers and babies. There are several types of Kyrgyz ornamental patterns: 1.\tPatterns symbolizing landscapes and other natural objects and processes such as Earth, a spring, eternal movement, Sun, Venus, star constellations, day and night, equinox; 2.\tPatterns symbolizing elements of animal kingdom such as raven claw, goose foot, ram horns, goat horns, a bird wing, a dog tail; 3.\tPatterns symbolizing elements of flora such as almond, clover, pomegranate, tulip; 4.\tPatterns symbolizing household objects as a comb, a lock, tip of a knife, köökör, a vessel for fermented milk; 5.\tPatterns with anthropomorphic elements.

Turkish coffee culture and tradition goes back to the 16th century when coffee started to be served at coffeehouses in Istanbul. The tradition has two distinguished aspects which make its taste unique and provide means toward socialization. As a beverage Turkish coffee carries special preparation and brewing techniques. It is one of the oldest coffee making methods still in use. The traditional techniques used in preparing coffee led to development of special tools and silverware such as like the boiling pot (cezve), coffee cup (fincan), mortars which have artistic value. Turkish Coffee leaves a long lasting taste at someone’s palate due to its preparation techniques which require time and its freshness. It is softer, more aromatic and more concentrated than other types of coffee. It is easy to distinguish from other coffees with its aroma, ground and foam peculiar to it. Turkish Coffee is not only a beverage but also a communal practice that brings together cultural spaces, social values and beliefs within a context of socialization process. Its role socialization can be traced back to opening of the first coffeehouses with its noticeable decorations in Istanbul. Coffee houses were then, and still are the places where people drink coffee, converse, share news, read books and socialize. The tradition itself is a symbol of hospitality, friendship, delicacy, and entertainment. All these are reflected in the famous Turkish proverb “the memory of a cup of coffee lasts for forty years.” This saying represents how important and profound coffee is in Turkish culture.

Turkey 2013

Integrating singing, reciting, dancing and martial arts performing, Peking Opera is a comprehensive performing art of traditional opera. In mid 19th Century, having incorporated elements of various opera forms from both northern and southern China, Peking Opera came into being. It was first created by civilians. Its development was then greatly promoted by the royal family, and reached its peak in the capital city of Beijing. Peking Opera is the most widespread and influential among over 300 opera forms in China. Hence it is also called the “National Opera”. Beijing dialect is used in the singing and reciting of Peking Opera where rhyme is of great importance. There is also a strict set of rules and forms of libretto composition. Peking Opera is based on Xipi tune and Erhuang tune. Xipi tune is applied to express passion, joy and ecstasy, whereas Erhuang tune is used to depict sadness and grief. Music (singing) plays a key role in setting the pace of the show, creating a proper atmosphere, shaping the characters, and smoothing the progress of the story. Traditional musical instruments are used in Peking Opera shows, where the drummer plays the role of a conductor and the “Jinghu” player acts as the first violinist in an orchestra. Strings and pipes, such as Jinghu, Yueqin and Sanxian, are known for their tender and melodious sounds, which are called “Wen Yue”, or civilian music. Whereas percussions including Bangu and Daluo make brisk and powerful beats, which are called “Wu Yue”, or military music. Singing and dancing are equally important to the performance of Peking Opera, which is characterized by its formularized and symbolic style. Performers have to follow the established format of movements of hands, eyes, body, and feet. Peking Opera only requires simple stage settings and props, following the principle of abstract presentation of big items (for example houses and walls are not necessary on stage) and specific presentation of small items (tables, chairs, cups and saucers, for instance, are used as props on stage). The exquisite and skilful acting of the performers can also help to unfold a virtual yet vivid stage setting to the audience. The costume and headdress in Peking Opera are flamboyant. The facial make-up is exaggerative and delicate. The lively opera face shows the character’s personality and social identity with concise symbols, colours and patterns, expressing the traditional Chinese aesthetic ideals. The storylines of Peking Opera originate from history, anecdotes and folk legends. About 100 of more than 3,000 Peking Opera shows are still being performed frequently today, such as “The Twin Bliss of Dragon and Phoenix”, “The Tipsy Imperial Concubine”, and “The Orphan of Zhao”. Over the process of its transmission, over 30 schools of Peking Opera with different singing characteristics have been gradually developed. The most famous schools include the Mei School (founded by Mei Lanfang) and the Tan School (created by Tan Xinpei). The Mei School, a performance system named after Mei Lanfang, is regarded as a representative of China’s opera performance systems, and one of the three major opera performance systems of the world. Nowadays, it is mostly the practitioners of professional and amateur troupes who shoulder the mission of passing down Peking Opera. Beijing Peking Opera House, Tianjin Peking Opera House, and Shanghai Peking Opera House play the most significant role in the transmission and development of Peking Opera. Prestigious Peking Opera artists, such as Wang Jinlu, Tan Yuanshou, Mei Baojiu, Li Changchun, Zhao Baoxiu, not only inherit their respective schools in a creative way, but also shoulder the responsibility of training performers of a younger generation. The traditional performing art of Peking Opera is still well received by the public. In Beijing alone it attracts over one million audiences every year. Some Peking Opera fans can not only appreciate it, but also practice it. They are also making a special contribution to the survival and development of Peking Opera. Opera towers and guild halls dedicated to staging Peking Opera shows, such as Huguang Guild Hall in Beijing and Tianchan Yifu Stage in Shanghai, are important cultural venues for relative communities and their “spiritual wonderland”. The major mode of transmission of Peking Opera is to “conduct oral teaching and inspire true understanding of the trainee”. In the past, the master of an opera troupe applied such a method to train his disciples. Even today, this mode is still being extensively used in opera trainings. As an inheritor and practitioner, each Peking Opera performer has to go through a series of rigorous and systematic training at a young age. A trainee will gradually master basic skills including reciting, singing, dancing, and martial arts performing through taking oral instructions from the master, and observing the master’s behaviour. A performing artist of Peking Opera will need to constantly improve his or her artistic attainments through a long-term practice, so as to enrich and solidify the heritage. The representative bearers of Peking Opera typically have mastery of various forms of traditional Chinese culture, such as calligraphy and history, and they are very respected by the public. Peking Opera is unique in its perfect, romantic and abstract way of performing. It is the practitioners’ special expression of their feelings and aesthetic ideals. It is also an important symbol of Chinese cultural identity.

China 2010

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

For centuries, many great master carpenters of Bhutan have displayed their skills to produce distinctive architectural designs that had come to be our heritage in wood work or shingzo. Woodwork continues to be a dominant part of most construction works. For structures that require wood, master carpenters are called upon to employ their knowledge and skills and to engineer the entire works without any blue print. The achievements of our master carpenters are evident in the dzongs, temples and monasteries, palaces, houses and bridges. The dzongs are widely appreciated by their architectural marvels. Trulpai Zowo Balep is respected and revered as a legendary artisan, for his contribution in the construction of Punakha Dzong in 1637. A long thread called thig containing dissolved red soil; a pendulum (chongdo) and a wooden lopon are essential possessions of a carpenter as are other tools. Bhutanese master carpenters rely on their knowledge and experience, and are expert in the joining wood without using metal nails. Each structural part like pillars, doors, beams, window frames, and roof girders are fitted separately on the ground. These elements are then joined together using thick wooden pegs. Logs with ledges serve as staircases. Roofs are also made of wooden shingles, weight down in their places by boulders. Items for daily use: Skills in wood work are also employed in making tools and essential items as listed below: •\t Wooden printing blocks, altars and plates for making offerings in the household, drums (nga) and masks of different types; •\t Cups, scabbards, handles for knives and swords and boxes of different types; •\t Musical instruments like guitar and drums, •\t Various decorative items likethe dragons, eight lucky signs and other decorative items. •\t Sports items lime darts (khuru) and targets (bha), •\t Wooden phalluses of different sizes.

Every year, the Phu La people in Nan Sin commune often organize a Forest Worship Ritual (lau pin phu) on the last day of the first lunar month. The Phu La people believe that the forest god always plays a very important role in their lives, providing shelter for human life. The ritual is presided over by the village elder. The location is usually close to the forest, with a large area. They build an altar made of bamboo, thatched roof with no truncated tops, with 4 legs about 1m high, about 1m long, on a bamboo altar surface 1m wide, 2m long. Families contribute offerings and money to the common organization. Each family must contribute a chicken, a bowl of rice, a bottle of wine, according to the regulations of the village community. In the Phu La Forest Worship Ritual, the village elder often doubles as a shaman, and will prepare the offerings according to traditional customs. The shaman must prepare the tools for the offering 2 days before the forest worshiping ritual, go into the forest to get a tree (cha mu sai) to carve into a wooden sword, about 70cm long, then smear black charcoal on the sword, and gather 10-15 children, on the day of the ritual, smear black charcoal on the children's faces to perform magic. In addition, he must make 2 pieces of bamboo to use as objects to ask for yin and yang during the ritual. The shaman holds the sword, points to the forbidden forest, goes to the altar and prays to invite the forest god to return to receive the offering and bless the villagers. After praying, the shaman pours wine into cups on the altar to invite the forest god and the land god to come back to enjoy the food and witness the villagers' sincerity. At noon of the forest worshiping ritual, the whole village finishes eating and drinking in the forest, then they go home, and return 3 days later to clean up. They avoid pregnant women and women who are not "clean" from participating in the ritual. After the ritual, each family will make a “phung manh” flag and hang it at the door to pray for good luck for the whole year. The “phung manh” flag is hung to pray for good luck for the family, for people and animals to be healthy. The family will change the “phung manh” flag every 3 years on the village forest worshiping day. This is a folk belief ritual with the meaning of protecting the ecological environment and praying for blessings with profound humanistic values of the Phu La ethnic group in Nan Sin commune. The forest worshiping festival aims to pray for the forest god to protect the village in peace, for people to be healthy, united, and have a good harvest. Through the Forest Worship Ritual, the Phu La community in Nan Sin commune is more united, educating the younger generation to protect and preserve the forest and the traditional culture of the Phu La ethnic group. With its good and important values, the Forest Worship Festival of Phu La people, Nan Sin commune (Xin Man district) was recognized by the Ministry of Culture, Sports and Tourism as a National Intangible Cultural Heritage in 2018.

The ceremony takes place on the 6th day of the first lunar month every year. The ceremony, in the Yao language, is "Tịu siằng thun boaù lỉu". The Yao Tien people's New Year and harvest festival is usually held on the first day of the Dragon or the first day of the Ox in January, with the purpose of praying for the gods to bless the people in the village for a well-being, prosperity new year, new bumper harvest. The ceremony is run by a master of ceremonies (elected by the villagers, highly virtuous and knowledgeable of worship rituals). The place where the festival is held is the house of the master of ceremonies. The master of ceremonies and his assistants set up the altar, pasted Tam Thanh paintings, placed two bamboo trees on both sides and cut colored paper to decorate the altar. On two bamboo trees, hang fish shapes made of red paper, bundles of sticky rice seeds, corn balls, and sticky rice flour stuck on strings tied around the bamboo trees. The altar displays 1 bottle of wine, 1 boiled rooster, 2 plates of leaf cakes, 2 plates of fruit, 5 cups, and a bowl of incense. After the master of the ceremony reads the prayer inviting the Jade Emperor, the gods, and ancestors to attend the festival is the ritual dance - the bell dance. The bell dancing team consists of 8 people wearing traditional costumes, wearing hats with pictures of saints, shaking bells in harmony with the sounds of gongs and drums, and dancing in a circle. The festival takes place with many games and folk art forms such as tickling, còn tossing, love singing, etc.

Sử giề pà in the Bố Y language means giving thanks to the Buffalo God, held on the 8th day of the fourth lunar month. On this day, all buffaloes can rest and bathe; being cared for, treated with kindness, and fed sticky rice and eggs. The story of Tết is explained in legend. The production process changed from "poking holes to insert seeds" to using buffalo traction. This is a milestone marking an important step forward in the agricultural production of the Bố Y people in the past. This is the time for the whole community to rest and have fun. They also invited their ethnic neighbors such as the Hmông, Nùng, Pa Di, etc. to visit the house and dine with the homeowner to celebrate. Before Tết, representatives of each household gather at the village head's house to discuss and prepare for the festival. Offerings to ancestors include 1 boiled chicken, 3 bowls of white rice, 3 bowls of colored sticky rice, 1 red boiled egg, 3 pairs of chopsticks, 3 cups of wine, 3 incense sticks, votive paper, and 1 buffalo made of seven sticky rice color. Offerings at the local altar include 1 bowl of rice, 1 bowl of meat, 1 cup of wine. After the offering, people bring a handful of sticky rice, a red-boiled egg, and young grass to invite the buffalo to eat first. After the buffalo eats, it is the person's turn to enjoy the ceremony. The village's offering tray includes a buffalo head made of seven-colored sticky rice, and three eggs dyed red placed on top. The ritual is performed at a shrine to the local god in the forest at the beginning of the village. The offering ceremony is divided into two times, offering live chicken and offering cooked chicken. After the ceremony, families will receive blessings to receive divine protection and strength. The story "The magic buffalo helps the Bố Y people" is re-enacted by a couple: the magic buffalo came down from heaven to earth to help the ancestors of the Bố Y people find water, plow fields, work in wet fields, grow wet rice, etc. The festival part including folk arts activities such as lovemaking singing, cotton singing, nursery rhyme singing, and folk games such as playing conch, swinging, and tickling.

“Bủng Kham” means a place for fairies to play. The festival has existed since ancient times, 24 villages held it on January 12 in the field in front of Nà Phái village to commemorate the Gods of Agriculture, Earth Gods and Fairies according to local legends. The ritual is associated with Thất Khê (7 streams), the most sacred is the Nam An stream, with the vestige of "Chẹt Khum" (Mandarin square capturing). Early in the morning, Master Mo and his entourage brought the offering tray to the Land Genie temple to burn incense and perform the ceremony. Master Mo's altar with baskets is displayed in the shack. Three fairy altars on stone mounds with paper dolls, umbrellas, a string of paper clothes, and an offering tray (including 1 boiled castrated chicken, 1 bowl of dry cake, 1 bowl of sli, 1 bowl of rice, 1 bottle of wine, 1 teapot, cups, and chopsticks). In front of the three altars, a pig weighing about 1 quintal is placed as an offering to the gods. During the incense offering ceremony, representatives of 24 villages in the commune present an offering tray of elaborately and attractively prepared products to worship the God of Agriculture (Reverend Fairy), Hoang Trung Great divine king (God of Insects), and Fairy King. After the village elders finished worshiping, the village lion dance team came in to dance to greet the fairies, and Gods of Agriculture, then went to the front of the village to dance to welcome their fellow lion teams to attend the festival. The people of the villages sang Then, sli, lượn, Phong slư, etc, participating in playing "Mandarin square capturing " (chẹt khum), tossing con, and playing chess. The ritual of going to the fields (lồng tồng) is performed by 25 village representatives on a well-tilled field with the hope of a good harvest. The focus of the Bủng Kham festival is the game of sowing and reaping fortune. The fortune was scattered by the shaman standing on the altar, and the villagers caught it and picked up the Holy fortune. People believe that whoever picks up a lot of Holy Fortune will have a prosperous and happy year.

“Ay lay” is the ritual of “working together in the village, building the village together”. This is a traditional ritual of the Dao Ho people held to pray for the gods to bless them with favorable weather and good harvests in the place where the people established the village. Every year, the Dao Ho people in Van Ban hold the Village Prayer Ceremony 3 times on the 2nd of February, 6th of June and 12th of December, of which the 6th of June ceremony is the biggest. Because this is the mid-year ceremony, reporting to the gods and the land spirits the results the village has achieved in the first 6 months of the year and the offerings to the gods are also more complete. The offering tray includes: a bowl of rice for the incense burner, three packages of rice, three cups of wine, a bowl of mixed rice and sticky rice, for the shaman to pray for luck for the village. When praying, the shaman calls the names of 7 gods, including the Jade Emperor, the Thunder God, the Village Lord, the God of the Land, the God of Human Souls, and the God of Rice, to witness and bless the whole village. Although the village prayer ceremony is held many times a year, the content and process of the ceremony are relatively consistent. Before the day of the village prayer ceremony, the village head chooses a good day and selects a shaman trusted by the villagers. The shaman must wear traditional costumes and bring a prayer book to perform the ceremony. The ceremony is held at the village head's house. Offerings such as chickens, pigs, white wine, rice, etc. are contributed by families, then gathered at a prestigious household in the community that has been selected in advance to prepare for the ceremonies. It is stipulated that a village prayer ceremony requires at least 3 living objects to be offered to the gods. However, families usually offer to the gods about 6 living objects, including 1 pig and 5 chickens. The offerings in the ceremony are all produced by the local people. From early morning, the villagers gathered at the village chief's house to prepare offerings to invite the shaman to perform the ceremony. Depending on the occasion, the shaman will have a prayer in the Dao language. The prayers must express gratitude to the above and pray for the protection and blessing of the gods for the village. After the village prayer ceremony ends, the villagers together organize a feast at the village chief's house to connect with each other and strengthen community sentiment. The Village Praying Ritual shows the attitude of the Dao people towards nature, not cutting down forests but respecting and protecting nature, so it has value in protecting nature and the environment. In 2018, the Áy lay Village Praying Ritual of the Ho Dao was recognized by the Ministry of Culture, Sports and Tourism as a National Intangible Cultural Heritage.

The forest worshiping ceremony of the Red Yao people is held on the 2nd day of the second lunar month every year. This is a traditional ceremony with the participation of all people in the village after they have finished planting the crop. The master of ceremonies is the main shaman and 3 assistant shamans and assistants. Early in the morning of the 2nd day, priests and representatives of households bring offerings, necessary items, firewood, and fire to the sacred forest to perform the ceremony. Everyone cleans up the place where the worship ceremony is held. After that, the priests burned incense, offered offerings, and invited the forest god and other gods to receive the offerings. Offerings include 2 black pigs (each weighing about 30 kg), 3 roosters, wine (poured into five cups), incense, and paper. The worshiping ceremony is performed twice: raw worshiping and cooked worshiping. Before worshiping, the main shaman blows the conch and takes offering books to perform the rituals. The purpose of these rituals is to worship the gods, land gods, tree gods, mountain gods, stream gods, and forest gods, praying for people to be healthy, peaceful, and lush crops, for domestic animals to grow quickly. After the worshiping ceremony, all participants will receive blessings on the spot. All regulations on the protection of forbidden forests in particular and forest protection in general are announced to everyone by the shaman and village head so that they can clearly understand and convey to family members such as not being allowed to cut down trees or build trees. housing, hunting... in forbidden forests, we must be conscious of planting trees, preventing forest fires, and developing the forest economy. The humane meaning of the festival is to help educate the community about love for nature, respect, and preservation of their own living environment.

Mo đổng trư Forest Worship Ritual of the Nùng in Hoang Su Phi - Hà Giang is a ritual to commemorate the merits of the Forest God Hoàng Văn Thùng - the leader of the Nùng people who sacrificed his life to help the villagers fight the enemy. The Forest Worship Ritual takes place every year in the second or third lunar month at the forest god temple in the forbidden forest. The offerings include pigs and chickens, after being slaughtered, the whole animals are arranged, along with blood and organs, on the offering tray. On the offering tray are 12 cups, 12 pairs of chopsticks and 12 bowls. The Nùng people believe that the number 12 represents the 12 months of the year. The ritual is an important spiritual cultural activity, expressing respect, gratitude to gods, heaven and earth, ancestors and turning to the origin. The ritual also has a strong cultural character of slash-and-burn farming, expressing the desire to be blessed and protected so that crops and livestock can always grow well and not be damaged by natural disasters, diseases, or pests.