The art of Jamdani weaving is a time-consuming and labour-intensive form of fabric production by hand on a traditional loom built with wood and bamboo and with little use of metal. Jamdani weaving is based on the traditional knowledge and skills dating back to the fourth century BCE. The distinguishing hallmark of Jamdani weaving is that its designs are neither embroidered nor printed but created directly on the loom in the process of weaving. The product from this style of weaving is called Jamdani, a highly designed cotton fabric which owes its origin to Muslin, the finest and most transparent cotton cloth ever woven by human hand. Of classic beauty, Jamdani effectively combines intricacy of design with muted or vibrant colours. Jamdani is also a highly breathable cotton cloth which brings relief to its users in the hot and humid climatic condition of Bangladesh. The Jamdani weavers have remained in the weaving profession from generations to generations as a means of family livelihood. The element represents Bangladesh’s rich textile heritage, contains significant historic value and has been designated as a unique element of the intangible cultural heritage of the country. Jamdani weaving has survived and thrived due to growing popularity of Jamdani fabrics among Bengali women both at home and abroad. Almost the entire production of Jamdani is carried on in the form of sari, the principal dress of Bengali women. Sari is a long flowing piece of cloth, part of it wrapped around the waist, and the remaining climbs and flows over the shoulder. Women wear more charming or elaborately designed Jamdani saris during festivities and on formal occasions.

Bangladesh 2013

Noken is a knotted net bag or woven bag made from wood fibre or leaves, sometimes coloured and decorated. Noken is a traditional handcraft of all communities of Papua and West Papua Provinces, Indonesia. The day-to-day function of large size noken is for carrying plantation produce, catch from the sea or lake, wood, babies, small animals, shopping, etc., and for hanging at home to store things. Small size noken is for carrying personal effects such as betel nut, food, books, etc. Noken may be used to cover the head or body. For nearly all (275/311) respondents, noken is an accessory to their traditional dress, and according to most (290/311) is used in traditional ceremonies or celebrations, such as marriage proposals, marriage ceremonies, initiation of children, appointment of community leaders, welcoming guests and for keeping sacred heirlooms.. Among mountain communities, noken had been given along with other presentations to make peace between disputing parties. Drs. H. Rahimin Katjong, Deputy Governor of West Papua, recalled wearing a small noken containing betel nut etc at the time of his appointment as a traditional community leader at Fak Fak, West Papua. Nearly all (276/311) respondents explained that noken is used by all age groups, and most (282/311) observed that noken is used by both sexes. As soon as babies learn to walk, their mothers give them a small noken containing food such as sweet potatoes, thus instilling the habit of carrying one’s own needs, which may also be used to help others, inside a noken which is always close at hand. Three quarters of respondents (235/311) said that noken is generally made by women-- ”the Mamas of Papua”--usually adults according to most respondents (250/311). Women thus play a special role in safeguarding noken culture. At Epouto village in Paniai District, we found male orchid-noken craftsmen. Asmat community men also make noken. Most craftspersons make noken in their spare time from agriculture, fishing, and household duties, though some make noken full time. Noken making goes on yearround, but will increase in times leading up to traditional festivals. The method of making noken varies between communities. A basic outline is as follows. Branches or stems or bark of certain small trees or shrubs are cut, sometimes heated over a fire, and soaked in water for some days. After soaking, only wood fibre remains. The Dani/Hugula in Wamena peel bark from sticks of certain trees and then beat the sticks till only fibres remain. The wood fibre is dried, and then spun with the palm of the hand on the thigh of the craftsperson to make a strong thread or string, which is sometimes coloured using natural dyes. This string is knotted by hand to make net bags with various patterns and sizes. The same technique is used to make vests, hats, belts, etc.. In Paniai District we find noken interwoven with special decoration made from fibres from yellow, brown and black. orchid stems. Besides knotting, there are communities which make noken by weaving tree bark, wood fibre, pandan leaf, young sago leaf, or grass from swamps. Some select grasses with contrasting colours (Inanwatan, Metemani, Kais and Kokoda (Imeko) communities). Maybrat community craftspersons colour the fibres with natural colours. The fibres, leaves or grass are woven in various attractive patterns with symbolic meanings. To make noken requires great manual skill, care, artistic sense and inner satisfaction. Craftspersons often make noken while singing traditional songs of Papua. To become proficient in making noken takes up to several months of informal training. A skilled noken craftsperson will be much appreciated within her (or his) community. The diversity of making, wearing and use of noken continues to develop and be recreated as the response of the people of Papua to nature and their environment.

Indonesia 2012

The Limbe is one of the ancient musical wind instruments of nomadic Mongolians. The limbe is a side-blown wind instrument, mostly made of hard wood or bamboo. It is considered as one of the valuable traditional musical instruments among Mongolians for its unique technique and characteristics such as producing euphonical melody, melisma, hidden tune associated with circular breathing, and its performing techniques of skillful and delicate movements of fingers and tongue. Over the long historic development of Limbe performance, Mongolians have created the unique technique of playing Limbe using circular breathing. Circular breathing technique of the Limbe performance is closely interconnected with the traditional mentality of Mongolians, traditional folk long song and the vast steppe. The circular breathing technique of the Limbe Performance comprehensively corresponds to the characteristics of the melody of Mongolian folk long song, particularly adequate for performing the folk long song with prolonged and melodic tune for its entire duration without any pause. Limbe is one of the main instruments that perform unilaterally the melodies of traditional folk long song or accompany its performance. While performing a folk long song, it is customary for Limbe performers to use the technique of circular breathing. Limbe has the ability to comprehensively express and support the manifestation of folk long song, its slow pace and expansive wide ranging flow of melody. Its continuous melody serves as a support during the singer's pause for inhaling and thus enriches the song's melody as well. 'Bituu amisgaa' means 'hidden circle of breathing'. Performing with circular breathing is a complex technique of uninterruptedly continuing the activity of expelling the air stored in a mouth cavity to play the melody and at the same time inhaling air into the lungs through the nose and transferring it to the mouth cavity. The distinctiveness of the technique to circular breathe lies in the ability of intentionally changing the normal way or process of breathing, thus creating the circular bond of continuous air flow by inhaling and exhaling simultaniously. The first step in mastering this technique of Limbe performance is to learn in the ability to inhale gently neither stopping the flow of blowing nor interrupting its tone of melody. The second step is to learn to play the Limbe with the ability to completely express the melody of traditional folk long song, its manifestation, phylosophical view by perfectly possessing the technique of producing ornamentation, coloratura, melismaa and shurankhai (falsetto) which requires one's true endeavours and hard work, talent and sense of acoustics. In this sense, it can be concluded that the element ""Folk long song performance technique of Limbe performers – Circular breathing"" finds its true form or fulfilled from within the inseparable interconnection of circular breathing technique of the Limbe and its performance of folk long song. The ""Circular breathing"" is a great achievement of nomadic Mongolians derived from their creativity, result of the exploration and necessity of their daily life. The origin and development of circular breathing is closely bound up with the skills and knowledge of ancient craftsmen or metalsmiths who specialized in gold and silver. Early Mongolian craftsmen used circular breathing techniques for crafting various decorative and ornamental items including valuable jewelries. In crafting such items, craftsmen were required to blow continuously to the flame through a pipe with needle like hole, in order to make the hard metal melt or soften. In that regards, the craftsmen had to blow gently to the flame through the pipe bitten in their mouth, continuing as long as possible. From such necessity of lifestyle, craftsmen have mastered the technique of circular breathing, creating a circular-like cycle of breathing, simultaneously inhaling through their nose while blowing without any pauses. It can be considered that the introduction of the circular breathing technique by craftsmen in the art of Limbe was a new and productive invention in its performing technique. The traditional method of learning the simultanious act of inhaling and exhaling has a coherent sets of training forms, ranging from elementary to advanced which include continuous blowing act at a candle light or a flame without extinguishing it and blowing through a straw into a glass of water. The technique of circular breathing performance of the Limbe has valuable significance that could equally be practiced for other wooden wind instruments (Mongolian traditional wind instruments: Bishguur, Byalar, Hornpipe; non traditional: Clarinet, Saxophone, Oboe, etc.) and is an outstanding example of musical performing techniques created by humanity, consituting one of the distinctive forms of intangible cultural heritage in need of urgent safeguarding. This traditional element of ""Folk long song performance technique of the Limbe performers-Circular breathing"" has been handed down by and preserved among renowned Limbe performers: L.Tserendorj, L.Maam, M.Dorj. Nowadays, the second generation apprentices of these well-known Limbe performers are the main bearers and holders of this traditional art. But the existing few number of these bearers of the element has become the biggest concern for its further viability. Currently, there is a high risk of possibility that the tradition of this element could dissappear from its existence. One of the factors causing the element to dissapear is inevitably the significance of decrease of current groups and individuals of artists and practitioners of traditional folklore in numbers and changes in the traditional repertoire. The main change of repertoire in traditional folklore has caused by the tendency to absorb classical or modern forms of view, and the predominance of western methodology in training system. Additionally, the intense globalization and urbanization changes are the factors causing to diminish the value and tendency towards intangible cultural heritage among general public, particularly among younger generations. Today, some of the urgent objectives for us are to promote, safeguard and transmit the element to the younger generations, to ensure its further existence and viability.

Mongolia 2011

Inscribed in 2018 (13.COM) on the Representative List of the Intangible Cultural Heritage of Humanity As one of the popular Korean folk tradtion, ssireum is a type of wrestling in which two players wearing long fabric belts around their waists and one thigh grip their opponents' belt and employ various techniques to send the opponent to the ground. It is played on diverse occasions, including traditional holidays, market days, and festivals. Ssireum games occur on sand in any available space around a neighborhood, and are open to participation by community members of all ages, from children to seniors. The winner in the final game for adults is awarded an ox, which symbolises agricultural abundance, and the title of Jangsa. When the games are over, the Jangsa parades around the neighborhood riding the ox in celebration. The customary practice of providing an ox as a prize is meant to allow the winner to farm more effectively.

South Korea 2018

Fujian Puppetry is an outstanding representative of Chinese performing arts. It consists mainly of string-pulled puppetry and hand puppetry. This performing art started to spread in Quanzhou, Zhangzhou and the surrounding areas in the 10th Century. In the course of its history, it has not only accumulated a considerable amount of traditional plays and changqiang (i.e. arias, vocal music in Chinese opera), but also developed rich and exquisite performing techniques, a unique performing system, as well as marvellous craftsmanship in the modelling of puppets. As a result, Fujian Puppetry has become an art cherished by the people of local communities where it is an integral part of cultural life. Since 1980s, changes in economic production and life style; economic globalisation and a diversified cultural dissemination and, on the other hand, the highly sophisticated performing techniques that require long and painstaking practice are the reasons behind young people’s reluctance to learn and inherit Fujian Puppetry. Given the above-mentioned situation, from 2006 communities, groups and representative bearers concerned formulated the 2008-2020 Strategy for the Training of Coming Generations of Fujian Puppetry Practitioners in order to promote the safeguarding of Fujian Puppetry transmission by focusing on the training of younger practitioners. The key objective of this strategy is to safeguard the transmission of Fujian Puppetry: -\tthrough systematic professional training, bringing up a new generation of puppetry practitioners and raising the self-sustainability of Fujian puppetry; -\tthrough overall safeguarding, educating coming generations of puppetry practitioners and appreciators, and improving the habitat of Fujian Puppetry.

China 2012

The yurt is a nomadic dwelling used Kyrgyz people. It has a wooden circular frame covered with felt and braided with ropes, and can be easily assembled and dismantled within a short period of time. The bearers of yurt-making knowledge are craftspeople, both men and women, who produce yurts and their interior decorations. Yurts are made from natural and renewable raw materials. Men and their apprentices make the wooden frames by hand, along with wooden, leather, bone and metal details. Women make the interior decorations and exterior coverings, ornamented with traditional zoomorphic, vegetative or geometric patterns. All festivities, ceremonies, births, weddings and funeral rituals are held in a yurt.

Kyrgyzstan 2014

Horse branding is a one of the most respected household items made by a balcksmith. Mongolian horse-brand are shaped into symbols that are associated with the tribes or ethnic groups to which the nomadic herder belongs. The culture of the brand of nomadic Mongol was written on the historical sources and evidences over 4000 and 5000 years ago. Every brand is different and never duplicated. The livestock brand is classified into 3 different categories as brand on hair, brand on surface of skin, brand on body. Mongols brand the horses and camels, and mostly do branding to young horses (in age of foul) in autumn and do branding feast within families. Horse brand is very important marks to herders to recognize their animals, therefore herders say this word “Altan biyend aman gerch, aduu mald tamga gerch” as “Tongue is expression of our body, and the brand is the evidence of horse and livestock”.

Mongols have a tradition to tether their foals in on the Tiger day at the beginning of summer and to set the mares and foals free of their halter and hobbles on a Dog Day in autumn and to celebrate the feast of “Foal branding”. In order to perform this ceremony a fire is set in the vicinity of the tethering-line and an iron brand is made red hot in it. Each foal is then branded, after which the brand is dipped into a pail of fermented mare’s milk. The pail is brought into the ger to be served. Accordingly, the libation with airag (mare’s fermented milk) is made for the sky, mountains and water. Thereafter, the feast for the “Custom of foal branding” continues according to established rules.

Mongol Tsuur is a blending of sounds created simultaneously by both the musical instrument and the human throat. Tsuur has an inseparable connection to the Uriankhai Mongolians of the Altai Region, and remains an integral part of their daily life. Its origins lie in an ancient practice of worshipping nature and its guardian spirits by emulating natural sounds. Tsuur is a vertical pipe-shaped wooden wind instrument with three fingerholes. Simultaneously touching the mouthpiece of the pipe with one’s front teeth and applying one’s throat produces a unique timbre comprising a clear and gentle whistling sound and a drone. Tsuur is traditionally played to ensure success for hunts, for benign weather, as a benediction for safe journeys or for weddings and other festivities. The music reflects one’s inner feelings when travelling alone, connects a human to nature, and serves as a performing art.

Mongolia 2009

There are over 120 different types of knucklebone games are played in Mongolia, and the “knucklebone shooting” is the most common spread one among the general public. The Knucklebone shooting is a traditional game that contains the traditional custom and culture in complex way. Shooting tablets are flicked towards 30 pieces of ''Khasaa'', a target laid on a zurkhai (wooden surface) in a given order depending on the current game, at a distance of 9 elbows (4.72meters). It is a team game that each team competes by shooting to knock down more of the khasaa than the other. During tournaments, shooters communicate not in words, but by singing ''Knucklebone Shooting'' melodies and tunes such as ''Hail you, friend',' ''Hit the target,'' ''Hail the board'' that sound more or less like ''Long Songs''.

Mongolia 2014

Gunduri is a straw mat, an agricultural byproduct consisting of the dry stalks of cereal plants after the grain and chaff have been removed. The temporary biodegradable products are made of natural material from the cereal crops such as barley, maize, oats, rice, rye, and wheat. It is used in villages and is locally made by the woman who has the skill to put it in a place. Whereas it is made of rice straw mostly in Tsirang, part of Dagana, Sarpang, and Samtse Dzongkhags. The making of the straw mats is carried out during the autumn season after the harvest of rice. It is also known as Gunduri in Lhotshamkha. The Gunduri making in Semjong gewog under Tsirang dzongkhag is still one of the unique cultures and traditions they have been practicing for so long. They prefer to use Gunduri because of their culture and tradition which have been preserved for so long. Mr. Singh Bir Pradhan, 81 years old from upper Dzomling shared that they had used the Gunduri mat during the involvement of many people like marriage ceremonies, funeral rites, and when there was a celebration in the village. Due to the change in time, the practice of making Gunduri is declining because of available cheap carpets in the market. People prefer to use the Gunduri mat because of its comfortableness and convenient in many ways but it takes time, patience and lots of practice. These days people hardly practice the Gunduri making in Semjong gewog but however they still use the Gunduri mat that are woven aforetime which are in a good condition.

The famous King Drimed Kuenden (previous life of the historical Buddha in the Vassantara Jakata) on exile, known for his altruistic, and compassionate acts that even gave away his own family members, visited Black Mountain (Jowo Durzhing). On the way he gave away his horse to an old man, and hence the name Taktse came into existence. Bhutan is a multilingual country where approximately 19 local dialects are commonly spoken. Mangduep kha is one of the local dialects commonly spoken in Trongsa and some parts of Wangduephodrang. The term Mangdue was derived from the place being able to grow any kind of crops and cereals. The local dialect Magdue kha is still used for communication in 3 gewogs (Nubi, Tangsibji and Drakten) under Trongsa Dzongkhag.