The element consists of the traditional craftsmanship of a community called Thatheras of Jandiala Guru, Punjab, India. The Thatheras craft utensils are of both utilitarian and ritualistic value made of copper, brass and kansa (an alloy of copper, zinc and tin). The metals used are recommended by the ancient Indian school of medicine, Ayurveda. In Ayurvedic texts, copper is regarded as an ideal metal for making cooking utensils and possessing medicinal properties. On the other hand, kansa is the prescribed metal for retaining the nutritive values of food. The settlement of the craftspeople in Jandiala Guru is laid out along a series of narrow lanes, lined on both sides by small home-cum-worksheds with families living and working on their hereditary profession. Both male and female members participate in the processing and creation of the artefacts. The process begins with procuring cooled cakes of metal which are flattened into thin plates, and are then hammered into curved shapes, creating the required pots, urns, plates and bowls and other artefacts. Heating the plates while hammering and curving them into different shapes requires careful temperature control, which is done by using tiny wood-fired stoves (aided by hand-held bellows) buried in the earth. The utensils are manually finished by polishing with acid, sand and tamarind juice. Designs are carved by skilfully hammering a series of tiny dents on the surface of the heated metal. Using basic tools that are handmade, the craftspeople create ritualistic, ceremonial and utilitarian vessels for both individual and community use.

India 2014

An artistic product often like a stick or a bunch of sticks basically made from powders of mixed aromatic plants and medicinal substances. It emits sweet fragrance smoke when burnt and normally offered in and at the sacred places to please deities and to get cleansed and rid-off defilements. The production of incense is considered one of the religious crafts, and it is another way of making Sang (smoke) offering. According to the Bhutanese artisans’, the craftsmanship dates back to the time immemorable when the first Lord Buddha Nam-par zig-pa (Skt. Bispa shayi) attained enlightenment and offered the Sweet Fragrance smoke by burning the Incenses by the enlightened beings; celestial beings and Bodhiasattavas made from varieties of heavenly medicinal herbs. The tradition gradually spread in the spheres of Bonpos (per Buddhist religion of Tibet) and Hinduism and maintained its skill until Buddha Sakya Muni’s period which is about 2500 years back then. The art was also adopted by the Chinese Buddhist missioners and further spread to Mongolia, Korea and Japan as well. In Tibet, the making Smoke offerings and burning incense was officially implemented the 7th Century during the reign of King Songtsen Gampo (R. 618 AD- 650 AD) when Princess Wenchang (M. 641 AD-650 AD) and her entourage members suffered illness while heading towards Lhasa (then, the capital of Tibet) as bride to the King. The Princess tried to medicated using physician attendants but could not bring to the normal yet, by offering the smoke offering made attendants fully recovered. The instruction to make Smoke Offering was from the Minister Thonmi Sambota () who had a visualization from the sacred Sakya Muni images to collect the medicinal herbs from the mountains and making smokes will ease any diseases associated to Nagas. Later, incense making and burning tradition was gradually invented using the same raw materials and medicinal ingredients of Smoke offering. In Bhutan, the art of Incense making was brought by the Country Unifier Zhabdrung Ngawang Namgyal (1594-1654) and was initially practiced in the Dzongs (fortress) by the monk artisans. Thereafter, the tradition remained intact amongst the Bhutanese being the Buddhist and making offering of incense had been a daily special offering substances in the individual shrines, temples and monasteries. Currently, there are a countable incense manufacturing centers across the country. These industries produce mainly two different incenses: Ja-ju poe (herbal incense) with a yellowish texture and Zu-poe or Choe-jue poe (incense mixed with flesh and blood ingredients) with a brown color. Ja-ju incense is usually burned explicitly for the enlightened beings and when performing Drol-chog (ritual of Goddess Tara), while the other is offered to the guardian deities and guardian spirits during affirmation rituals.

The Ramman is a form of traditional ritual theatre celebrated every year in the courtyard of the temple of Bhumiyal Devta situated in Saloor Dungra Village in Painkhanda valley of Chamoli district, Uttarakhand, India. The village deity of Saloor Dungra is Bhumichetrapal, also known as Bhumiyal Devta. Historical accounts of the preexisting tradition are available since 1911. In the Hindu month, Baisakh (April-May), on the sankranti day, Bhumiyal Devta comes out in a procession to the temple. On the second day of the festival, people offer hariyali (sprouted barley plants), to the deity, which has ecological reference. Every day, the Bhumiyal Devta takes a round of the village. The main components of the masked performance are as follows: ▶Celestial Aspect -Dance of Ganesh-Kalinki (Parvati) -The dance of Sun God: Enactment of creation-myth and birth of Brahma and Ganesh. -Bur Deva (Narad): Rani-Radhika dance. -Bur Deva Raja dances along with Gopi Chand (Sri Krishna) and Rani Radhika (Gopis) on different beats and gestures. ▶Temporal Mwar-Mwarin Dance: The dance shows the travails of the buffalo herders in their hazardous journey through the jungle to the hills. A tiger is shown attacking and injuring the Mwar. Baniya-Baniyain Nritya (Dance of the Trader-Couple): It shows hardships of the common people. The episode shows robbers attacking and looting the merchant couple. ▶Performance The performance then shifts towards the enactment of the local Ramkatha, the core Rama story. Episodes from Rama’s life are sung. The dance is performed on 18 different beats yielding a total 324 beats and steps. The episodes enacted and sung are: -Ram-Lakshman’s visit to Janakpur -Sita’s Swyamwar -Hanuman Milan (Meeting with Hanuman) -Swarna Mrig Vadh (killing of the Golden deer) -Sita Haran (Abduction of Sita) -Lanka Dahan (Burning of Lanka) -Raj Tilak (Coronation ) There are other dances and episodes like Maal Nritya, Koorjogi and Narsingh Pattar Nritya. ▶Historical Aspect -Maal Nritya: Rama story is followed by the historical battle between the Gurkhas of Nepal and the local Garhwalis. Two dancers carrying weapons move on to the central performing arena, enacting a battle scene. They are comical in looks, attire and gestures. -Maal artists are four in number, two red and two white, respectively representing the Gorkhas and the Garhwalis. It is mandatory to have a red Maal from the Kunwar caste of the Rot hamlet, Saloor village, as it is believed that this hamlet supported the Gorkhas. The other three are selected by the Gram Panchas. One white Maal each is chosen from the twin villages and the remaining red Maal comes from village Dungra. This performance manifests past valour and bravery, sums up the total religious and aesthetic experience of the community, and renegotiates its identity and place in the bigger cosmic drama every year. ▶Ecological Aspect Ramman is an agrarian festival in celebration of ties between man, nature and the divine. Maize and barley seeds, sprouted in ritual pots, are offered to Bhumiyal Devta who, in turn, promises prosperity to all, including agricultural yield and forest produce. -Koorjogi: This episode is of immense ecological relevance. Various harmful weeds (koor) in the village fields are pulled out by Koorjogi (character who carries a sack full of these weeds). One of the most joyous moments in the series is throwing thorny weeds on each other, creating a mayhem of goodwill and merriment, establishing a sense of community and harmony. -Make-up of Artists: The Ramman performance involves use of masks and make-up using sheep’s wool, honey, vermilion, wheat flour, oil, turmeric, soot and locally grown plants and vegetables. -Masks are made from wood of local trees and this involves lengthy rituals. ▶Musical Aspect -Drumming Tradition: The performance revolves around playing of drums by Das drummers from the lowest caste, whose status is elevated during the performance. -Jagar Tradition: Jagaris or Bhallas of Rajput caste are professional bards and sing oral epics and legends (Jagars). The festival ends with a feast where the prasada of the deity is distributed as sacrament.

India 2009

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.

People in the world believe in the incarnation, and in order to be reborn, relatives and friends have to perform many ceremonies dedicated to their beliefs; however, the practice of this tradition varies from nation to nation. Even within Cambodia may vary by region. In the city or town, the body is usually cremated immediately within a few days after the death and the ashes are collected. This can be explained by the fact that the location and lifestyle required this. In some areas, after death, the body is permanently buried. In other areas, especially the Angkor region, Siem Reap, whether rich or poor, a deceased person must go through two major ceremonies. In the first stage, when death occurs, it is very important to perform a funeral one to two days, after the body is buried in the grave for at least a year. The locals understand that this is to let the earth embrace the body and feed the animals, that is, let the soil and water (adjacent to the soil) dissolve the body one step at a time. When the flesh is rotten, only the bones are left, and then the bones are burned and the air finally dissolves. This is because the human body is made up of four elements: water, earth, fire and air, and when dissolved it is made up of these four elements. According to the locals, the feeding of animals does not refer to vultures or other animals, but to earthworms. When a Chinese diplomat named Chiv Takwan arrived in Angkor in the 13th century, he wrote “a human corpse is placed in the wood to be eaten by animals”, it is believed that the soul will be incarnated faster”. Whatever the tradition, the main reason is how to get the dead person to reincarnate. The second stage is the cremation. Before the ceremony, the priest must do the ritual of "Yorng Sob" which is to remove the bones from the pit, wash them, pack them in rags, and wrap them in another mat, then place them on a tree trunk. After that, they arrange a joint cremation on the field. Because the burial was made long ago before the cremation and it is a joint cremation, so they could choose the day and the month as they wish. Cremation is usually held during the month of Phalkun, and although the ceremony lasts for several days, the day of the cremation has to be on "Ronoch". In general, this cremation is very solemn because it is held together by many families with about 10 to 100 corpses. In the case of any family with sufficient resources or the corpse of the former chief priest of the pagoda, it can be done separately, but it is very rare. The funeral lasts for 3 nights and 3 days. On the first night, they started a ritual called “stealing the corps” by taking the corpse (the package of bones from the Yorng Sob task) and hanging it on a tree or putting it in Saley cart until the evening of the third day before the corpse procession to the funeral hall or crematorium or "Phnom Yorng " or called "Meru") in the Khmer language. In the morning, on the first day, elders, priests and relatives of all the corpses prepare according to their respective duties and affordability. Achar (Priest) Yogi draws 12 soul flags, Achar organizes Buddha altars and an eight-story pavilion. Grandmas prepare Bay Betabor, Bay Sey and Sla Tor and men Jak Jek, making sand mountain, making Rean Nim Reach or Rean Puth Kun and Phnom Yong. Whereas, young women prepare spices, fish, meat for cooking and baking. On the same day, the initiator of the festival brings “Kroeung Bonlong” to a nun who has a role of "Keas Junh Jean Tbong". A priest ordains a man who will “Buos Mok Plerng”. Another priest performed the ritual of calming the coffin by measuring a banana vine and sprinkling water on the coffin. In the afternoon (around 3 PM), Acha Yogi performs Krong Pali. The next ritual is to raise the Aphitorm flag and the crocodile flag. The work is solemn as there is "Chark Ho." Later, seven monks recite prayers and performed sermons, and the next work is “Apisek” on Buddha statue. The ritual ends with a performance on the scene which “Socheata took honey “Mathubayeas” to give to the Buddha. In the early morning of the second day, arriving at the funeral hall, they piled up the sand, from a nearby pond to build a mountain with perfect decoration. According to the elders, the sand mountains represent the stupas in the Trinity. After that, the priests and elders performed the ordination ceremony of the sand mountain. On the second day, from about 3 to 4 pm, they prepare a reception. Traditionally, they often make Num Banjok “Khmer noodles” for the reception. It was about 4:30 when the corpse procession leaves the place where it was kept and enter the festival hall. The procession was followed by ritual items. The nun wears a gem ring, sitting in the front row, while the relatives of the corpse carry pole of Balong, and there is a monk sitting on a wheelless cart carried by men. Next, relatives were strapped by Sbov Pleang knot to a Somley cart, and four monks sit on the cart. If it is a procession of the body of the King or the body of the high priest, chariot is decorated and designed as a dragon or phoenix. Upon entering the Pnum Yorng, they process three rounds around the mountain. Then, Achar Yogi and Achar Phluk, they perform prayers and prayers in front of the Rean Puth Kun. Relatives of the corpses placed fragrant vines under the coffin. They make gods to come down and offer fire, and firecrackers were set on fire to run and set the coffin on fire. While worshiping, the Acha-yogi sits chanting dharma on the east side. As for the four Achar Pluk, they sit and chant dharma in the halls of each direction. The Keas Jun Jean Tbong nun meditates next to the funeral hall. This meditation session is to see which corpses have been received Balong and which corpses have not yet been received. After the cremation, Achar Yogi and Achar Phluk take banana leaves and a krama to cover the bones mixed with charcoal and rotate the Popil for the corpse. Later, the "transformation" ritual is the most important, Achar Yogi draw a human form and start a ritual for the corpse. Then Popil rotation ritual will be started, the relatives of the corpse collect the ashes, wash them with coconut water and put the ashes in a Krama hammock, and sing a lullaby to put the ashes to sleep as if putting the baby to sleep too. All ashes will be taken by relatives to keep at home for a while. The main rituals can be said to be over now, but the cremation ceremony will be completed on the morning of the third day, Rorb Bart ceremony and unrope sand mountain. So far, it is believed that the souls are not in peace yet, it is required to have one more ritual called interment of ashes. However, some families could not afford to keep the ashes at the stupa or under the temple grounds, they only do minor ritual. But if the family of the deceased has a prosperous life, they will hold another burial ceremony.

Rattan Cord Tugging Rituals and Games festival in Huong Canh is officially held on January 3 and is a performance in Canh village festival on the full moon day of the second lunar month. The game of river towing originates from the tactics of Ngo Quyen's navy, using a rope tow to adjust the speed of the warship to match the rise and fall of the tide on the Canh River. The rattan cord tugging game is held on a large, flat land along the river. In the middle of the beach, an ironwood pole is buried firmly in the ground, with a hole about 1m above the ground to thread the rope. The twin honey line is 70m long, has no worms, no ends, and evenly long internodes. Two teams play: each team has 25 members, the 2 strongest people - standing on the river, stepping on the pole to gain momentum to pull the rope, next, each hole (the holes are about 1m apart) are pairs of players, two Stand with your feet under the hole, butt touching the edge of the hole, lean back, both hands trying to pull the rope back, the last hole has 1 pair of hands. To keep the rhythm and adjust techniques, each team also has an additional trich song (general) and an assistant (soldier). After the Priest threads the rope and makes a mark, the villages appoint two men to "pull the ritual". After that, "generals, soldiers" and each pair of soldiers enter the predetermined hole position. Each match must have 3 rounds, each round lasting about 15-20 minutes. The winning team is the team that pulls the rope 50cm beyond the painted line.

Viet Nam 2015

Katu women have their own space in their traditional house to weave brocade fabric in their free time. The main materials include raw fabric fibers and colored fabric fibers, beads (fruit seeds, lead), and rattles (copper). After harvesting, cotton seeds are dried, separated, rolled, and spun into yarn. The cotton yarn has an original white color. To dye the yarn, the craftsman uses the root of the achất, ahứ plant (pink); the trunk and leaves of the tà râm, a chất tree (indigo, black); myrtle roots (purple), angoăn mơrớt, arắc tree (yellow)... To increase the durability of the color, the Katu people use snail shell powder and honey mixed with a mixture of soaked leaves, plants, and forest tubers. fabric. The Katu weaving loom is made from wood and bamboo with parts such as pang; 02 pairs of anóp; chrđóh; Dhrắ; chrtau; Trơ pang; Crusu; Prơ hơm; pê nết; Xe; Crơchan. Popular motifs include diamond-shaped agate, pinwheel-shaped, four-petaled flowers, loincloths drying on a line, spikes, firewood stacked on the stove, rice plants, and dancing women. The main product is Tút cloth with many different sizes and widths. Tút is made from techniques of weaving plain fabric, weaving wavy patterns, and weaving with beaded patterns. Among them, the technique of weaving and attaching beaded patterns is the most difficult and sophisticated. From the Tút sheet, the Katu people create many items such as shirts, loincloths, short skirts, long skirts, robes, scarves, belts, etc.

Traditional farmacology. For preparing medicaments people use minerals, plants, fruits and vegetables, animal parts and products like milk, butter, honey.

Haftdoruya means – seven medicines. This dish is cooked with seven usefull elements: milk, butter, egg, honey and some other fruits and herbs.

Chak-chak isa kind of halva, prepared with pasta, oil, honey, and egg.

Beekeeping - agricultural sector, which is engaged in breeding of honey bees to produce honey, beeswax and other products.

Sweets are an integral part of the national cuisine. Uzbek cuisine is famous for its confectionery products based on natural ingredients: nuts, honey, fruits, berries and sugar. As a rule, it is customary to prepare national sweets without fail before the holidays for family events. A meal will not be complete without sweets such as: - Zangza - rather fatty brushwood - Kush-tili - deep-fried butter dough - Nishalda - thickly whipped protein with sugar - Parvarda - homemade caramel sweets, rolled in flour - Halvaitar - halva, the consistency of which is slightly thinner than usual - Pashmak - a kind of cotton candy (denser than traditional) - Behi-dulma - resembles stuffed apples. Quince is stuffed with nuts, honey, sugar and baked - Sumalak - a sacred sweetness made from sprouted wheat, which is mainly prepared before Navruz - Baursak - buns of sweet yeast dough fried in a large amount of oil - Urama - reminds brushwood. sweet dough, wrapped in tubes, fried in boiling oil - Chak-chak is a sweet dish, which is made of dough in the form of "vermicelli", cubes or balls, filled with honey syrup.