The community worships the forest god in the forbidden forest according to their legend. They hold the Feast on June 6 at the edge of the forest behind the village. The altar is made from small branches and returns to the forbidden forest. Presiding over the worshiping ceremony is a shaman chosen by the villagers according to their own principles. There are two main rituals, as follows: Offering offerings: The villagers present an offering of live chickens and goats along with other offerings. The priest prays according to the set steps so that the gods can witness the ceremony, then let the people slaughter chickens and goats in turn. Main offering: The goat is charred, leaving the internal organs to serve the main ritual. The goat blood is blessed by the sorcerer to save the lost soul. In the end, they cook and eat on the spot together. The ceremony shows the community's sense of forest protection.

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.

National Intangible Cultural Heritage, Republic of Korea Eunsan Byeolsinje is a shamanic rite held to honor the guardian deity of Eunsan Village at the village shrine in Eunsan-myeon, Buyeo-gun. The rite is connected with a legend about a severe epidemic that led to the loss of many lives and with the strange dream of an elderly village leader. In his dream he met a Baekje general who had been killed during a battle fought to protect Baekje and was asked to bury the general and his men in a sunny place in exchange for a ‘magical intervention’ to repel the epidemic. Upon awakening from the dream, he visited the place mentioned by the general in the dream and found many bones scattered there. The village people collected and buried them in an auspicious site and performed an exorcism to console their spirits. The burial was followed by the end of the epidemic which, in turn, led the villagers to hold rites to honor their heroic deaths. The tradition gradually developed into the festival event of Eunsan Byeolsinje, which was initially held for about fifteen days between January and February once every three years. As the date of the rite approaches, the village elders select those who will officiate over the event and assign military titles such as General, Colonel, Lieutenant, and Private to the designated officiants. In addition, the chief officiant is requested to use the utmost care in preparing the sacrificial offerings and to preserve the ritual venue from any signs of impurity or evil by, for example, covering the well to be used in the rite with a straw mat, and by encircling the venue with an “evil-repelling rope” and scattering yellow and black grains of sand around it. The villagers then cut down trees to support the village guardian poles and make paper flowers to offer to the village guardian, and hold pieces of white paper in their mouths as they move to the shrine as a symbolic action to repel evil spirits. The main part of the rite usually starts in the evening and ends at dawn with the process of erecting the village guardian pole and praying for the safety and prosperity of the village.

Originating from the worship of General Trần Công Bát at Cấm Temple, the Kin Chiêng Boọc Mạy Dancing and Singing Celebrations under Bông Ritual Pole is held annually by the Tai people in Xuan Phuc Commune on the 15th day of the first lunar month to express gratitude to their ancestors, heaven and earth, and gods, and to pray for favorable weather, a prosperous, peaceful, and happy life. The Tai people consider this a cultural and artistic activity of the community, so everyone in the village participates in full force. This ceremony usually lasts from 1 to 3 days and nights, to satisfy the spiritual needs of all classes of people in the village. The Bông Ritual Pole is the centerpiece of the festival, symbolizing the life of the village and nature. The most unique feature of the “Kin Chiêng Boọc Mạy” Festival is the singing and dancing under the Bông Ritual Pole. The Bông Ritual Pole is made of bamboo or bamboo, the Bông Ritual Pole flowers are made from mulberry trees, cassava trees, and tens of platforms with shapes of birds, animals, and production tools. Depending on the generation of the Mo family, the Bông Ritual Pole is made from 3, 5, 7 to 9 or 12 floors. Currently, the Bông Ritual Pole in the "Kin Chiêng Boọc Mạy" Festival in Roọc Răm village, Xuân Phúc commune is allowed to be 9 floors (meaning it has gone through 9 generations of Mo masters), with thousands of gerbera flowers from 30 to 40 petals. Each Bông Ritual Pole is compared by the people to a human destiny, each flower is a crop season. The festival is divided into two parts: The ceremony part is the spiritual rituals - the basic prayers told by the Mo masters about the story of establishing the village, establishing the village, praising ancestors, and those who have contributed. The person who plays the role of "God", plays the role of "Muong Troi" in the "Kin Chiêng Boọc Mạy" Festival - Singing and dancing to celebrate under the Bông Ritual Pole has borrowed the "power" of the god to teach people to do good things, not to do evil, and to love each other. The festival is a system of 26-50 performances performed by Shamans or "Shaman Guests" such as: chopping wood, farming, sword dancing, sweeping the house, people playing the khene... each performance has a god from Muong Troi participating (played by the Shaman). In addition, there is also the playing of traditional musical instruments: Gongs, bamboo flutes, drums, boong bu, khene, flute; along with folk games such as: Hat khap, jumping on bamboo poles, beating mats, tug of war, throwing con... and cultural and culinary exchange. All rituals and performances take place under the Bông Ritual Pole. The Dancing and Singing Celebrations under Bông Ritual Pole has the meaning of community consolidation, and has a high traditional education value in the community. Through this ritual, the entire life of the community is recreated, including production activities, behavioral culture, beliefs... creating a unique and distinctive cultural and artistic form. From the long-standing spiritual and cultural values, the "Kin Chiêng Boọc Mạy" Festival - Singing and dancing to celebrate under the Bông Ritual Pole of Roọc Răm cultural village, Xuan Phuc commune, Nhu Thanh district, Thanh Hoa province was recognized by the Ministry of Culture, Sports and Tourism as a National Intangible Cultural Heritage in 2017.

The Xăng Khan Ritual is a day to thank ancestors, thank shamans for teaching them how to prescribe medicine, cure people and thank the gods of the Thai people in Nghe An province. The Xăng Khan Ritual (also known as Kin chiêng boóc mạy) takes place in almost all districts of Nghe An province, including: Que Phong, Quy Chau, Quy Hop, Tuong Duong, Ky Son, Con Cuong, Nghia Dan districts. Xăng Khan Ritual is held every 3 to 5 years, around the 11th and 12th lunar months or in spring at the shamans' houses. Today Xăng Khan Ritual takes place for 1 day and 1 night. The offerings prepared for the Xăng Khan Ritual include: pig's head, rice wine, grilled fish, rice bowl, egg, sword, wine cup, wine bottle, betel and areca... and the indispensable item in the festival is the flower tree (Boóc Mạy tree), made from the trunk of an old bamboo tree or reed tree, 4m long, with many holes carved into many layers, dyed in many different colors such as: green, red, purple, yellow, strung together and beautifully decorated with many patterns and motifs. The flower tree is an important symbol of the Xăng Khan Ritual. Next to the flower tree is a nine-story tower, made from a bamboo frame, tied with silk threads of many different colors. After fully preparing the items, the shamans begin the ceremony by praying to invite the Mường Gods to come down to earth to receive the blessings that the people give, and eat the offerings that the people bring. The Xăng Khan Festival has many rituals, ceremonies and many performances and fun games. After each ritual (such as: eating the tang tree's intestines, welcoming the spathe, washing hair, opening ceremony, erecting the flower tree, offering to the ghosts...), there is a performance illustrating the content of that ritual. The shamans and the villagers dance around the flower tree (Boóc Mạy tree) to simulate the actions of the gods and ghosts in that ritual with many unique performances such as: Dancing, jumping on the bamboo poles, singing nhuon, singing xuoi, carving the beds, beating gongs, knocking boong bu, blowing the panpipes... At the end of the ritual, the host directly picks flowers to give to everyone, each flower is a reward symbolizing luck in life. After that, not only the villagers but also visitors from all over the world dance together, blending with the sounds of gongs, drums, rattling the beds, and beating the pipes symbolizing thunder, rain, and fertility with the wish for a bountiful harvest. The Xăng Khan Ritual contributes to satisfying the needs of daily life and cultural enjoyment, especially spiritual culture of the indigenous Thai community. The Xăng Khan Ritual has deep historical value, closely associated with the formation and development of the Thai ethnic group, creating a distinct cultural identity. With its typical value, the Xăng Khan Ritual of the Thai people in Nghe An was included in the list of National Intangible Cultural Heritage by the Ministry of Culture, Sports and Tourism in 2017.

Suri Jagek, literally translated to ‘observing the Sun’ is the traditional Kalasha meteorological and astronomical knowledge system and practice based on the observation of the Sun, Moon, Stars and Shadows with respect to the local topography. The practice of Suri Jagek demonstrates the relationship of the Kalasha people with their surroundings and the capacity of their immediate geographical context to sustain their way of life. Suri Jagek is a knowledge system which connects a long history of “events” to topographical locations. The system is a complex structure of empirically observed accumulated knowledge and is repeatedly referenced to allow the Kalasha people to predict the appropriate time for the sowing of seed, animal husbandry and natural calamities. It is also used to govern the Kalasha calendar by determining dates of important social events, festivals, feasts and religious ceremonies. It draws greatly from the rich cultural heritage and social practices of the people, therefore functioning in the capacity of a repository of the history of the people and the region at large. Visual cues existing within the periphery of the topography are used to mark the specific positions of the rising and setting Sun, and hence the collective markings are used to record the positions of the Sun throughout the year. Observatories called ‘Suri Jagaekein’, are chosen in each village to observe the rising Sun, and a separate location is assigned to observe its setting. The specific positions on which the sun casts its shadows are also marked in some people’s houses on walls or poles etc. Individual localities have their own specific knowledge, generated using the common processes of marking the positions of the Sun. Qazis, who are authorities on matters pertaining to religion, history and indigenous models of conflict resolution, farmers, some shepherds and a few village elders are the knowledge bearers of Suri Jagek and the observations at the Suri Jagaekein made by various community members are shared in communal gatherings. A general consensus is reached in a Jirga (communal forum); however, presently this is only practiced in the Rukmu valley on the 16th of December. Knowledge related to the constellations of stars, meanings of various types of rainbows and the study of clouds as well as shadows are all in the wider ambit of Suri Jagaek. The Libra constellation known as Tarazu is considered particularly important during the Spring period coinciding with the month of Amaal Mastruk. When the constellation is observed in its clarity during the month, it is indicative of the ground softening the next morning; a time considered vital for the planting of crops.

Pakistan 2018

For thousands of years, nomadic herders of Mongolia roamed across the country-side from season to season. Dry, windy areas close to rivers are best for summers while areas away from river-bank wind and close to mountains or hills are best for winter stays. In the country where pasture always was and still is a public domain, the herders moved freely to the best locations for the season. With this lifestyle of freedom of movement and pastoral animal husbandry was invented the national dwelling called the ‘Mongol ger’. It is a round structure of easily dismantle-able walls, polls and a round ceiling covered with canvas and felt, tightened with ropes. The ger was designed to be light enough for Mongolian nomads to carry, flexible enough to fold-up, pack and assemble, sturdy enough for multiple dismantling and assembling as well as easy for regulating temperatures within. Over many centuries the mongol ger was modified into a perfectly aerodynamic structure which can withstand Mongolia's fierce spring winds ranging up to 18-20 meter/sec. It can be dismantled in half an hour and assembled in an hour by a small family with 2-3 adults. The Mongol ger has many varieties. The most common “5-wall ger” consists of five lattice segments forming a circular wall, a door, a toono (round window ceiling), two bagana (columns that hold the toono), and 88 uni(long poles that connect wall lattices and toono which forms the roof of the ger). There are also several accessories attached to the ger.

Mongolia 2013

Needle grass (called chiy in Kyrgyz) is used for traditional handicrafts. Needle grass grows in all regions of Kyrgyzstan. Needle grass is harvested when it is ripe between 15 of August and 15 of September. If harvested too early, needle grass become fragile, if harvested too late, it becomes too stiff at the bottom. Needle grass is harvested with roots because the bottom part is the most durable and looks like a knot that prevents chiy from falling apart. Making such mats requires mastery and patience because a craftswoman needs to wrap every stem of thatch with different woolen thread. The threads must make a pattern at the end. This makes needle grass mat making especially challenging. •\tWhen harvested, needle grass is cleared of leafs and outer layer and then dried on a sun. Depending on a size of a future mat, needle grass is cut accordingly. •\tMats can be prepared manually or by using a special machine. Self-made weaving machine consist of two vertical poles with a hanger at the top. One perpendicular pole is put on top of those hangers. •\tThe perpendicular pole has notches to hang threads. Then, weaving threads are wrapped around two equally heavy stones. •\tStones are hang in such a way that they are located on a different side in relation to a perpendicular pole. •\tNeedle grass stems are a placed in such a way that top of one stem lies next to the bottom of another stem. A craftswomen takes stones and moves them back and forth in such a way that threads wrap each stem creating a pattern. •\tWhen weaving is done, the fluffy edges of needle grass are cut even. The bottom part of the mat is not cut. The edges of mats are strengthened by a zigzag weaving. There are needle grass mats both with and without ornament.

Wood engraving has two main types: half engraving and whole engraving. There is a template of engraving that is called tsoi in Mongolia. Whole engraving is used for making a variety of items, such as the horse currycomb, chest, tiger-legged table, bed, and a cast of traditional cookie, as well as an arrow, pieces of a chess game, toys, and religious items and idols. Animals such as lion, tiger, dragon, and elephant, all of which symbolize strength and power, are engraved on the wooden doors of gers, while religious symbols and ornaments are engraved on the doors of temples and monasteries. Carving a pair of intertwined dragons on top of poles in gers and temples is common.

The tradition-bearers of the element are communities in the three water-puppetry guilds of Bồ Dương Village (in Hồng Phong Commune, Ninh Giang District), An Liệt Village (in Thanh Hải Commune, Thanh Hà District) and Bùi Thượng Village (in Lê Lợi Commune, Gia Lộc District). Water puppetry is a form of amusement for villagers during village festivals. Performances often takes place in a small nhà trò or thủy đình stage in a pond at the village’s communal house. Performers submerge themselves in the water, behind a bamboo screen, to maneuver wooden puppets with poles and robes. A show often includes short playful scenes with various puppet characters, such as the Tễu clown, dragon, turtle, lion, snake, fish, dragon boat, and so on. Puppets are made of sung wood (cluster fig), meticulously sculptured and ornately decorated. The puppet’s base, attached with a manual mechanism that allows maneuvering underwater, is always heavier than the top so that it can float halfway without sinking. Music, rooted from North folk songs and chèo music is an important component. Popular excerpts and scenes are intro by Tễu, wrestling, fishing, dragon dance, the Eight Fairies, so on. In order to accommodate new audience tastes in contemporary life, water puppet artists create new scenes and excerpt with more sophisticated techniques.

The game is associated with the village festival on the 4th day of Tet. The community uses bamboo stalks as zippers. The selection of bamboo is extremely meticulous. Zipper made from bamboo stalks - long, straight, no worms, no broken ends, and an odd number of segments. On the morning of the 3rd day of the Lunar New Year, "Mr. Hóa" instructed people to make a zipper: use a piece of ceramic to scrape off the outer layer, revealing the white part; Punch two holes in each bamboo root, and connect them with two shoulder poles; Take the rattan and wrap it tightly in two connected places to form three spiders (one large in the middle, two smaller at the ends). Once the zipper is finished, the ceremony to report to the Tutelary God will take place. Participating in the tug-of-war competition are the young men of the four villages in the village, divided into two factions: the East and the West. Each side has 37 men. Four of "Mr. Hóa" hold the flag and four of "Mr. Vè" control the game. The ceremony ends, and the rope hanging on the temple is lowered. Three drum beats rang out then four men waved flags and led two teams to greet the villagers. All the young men were shirtless, wearing white pants, red belts, and silk scarves on their heads, clinging to the bamboo trunk, the four strongest men stood in the connecting beam position. When the flag flies three times around the rope, the competition begins. Both sides must pull 3 glues. The first two matches are inconclusive. On the third day, the villagers joined in to help the East side, because people believed that if the East side won, the dream rice would have a good harvest.

Viet Nam 2015

Yurt (kaz. 'kigiz uy', 'kiiz uy') - portable housing with dismountable wooden circular frame with felt covering. Its origins date back to the era of ancient Turkic nomads. For modern population of Kazakhstan yurt is not only housing, and the model of the universe; it is also a symbol of their national identity. A yurt is a round folding wooden frame covered with felt and rope weaving. The frame of the yurt consisting of four parts: •\tkerege - ready-sliding base •\t'uyk' ('uyq') - dome poles, roof (modern) •\tshanyrak ('shanyrak') - circular top, a chimney and a window (modern) •\tyessyk ('esik') - double doors (modern) Tent can be easily assembled and disassembled in a short period of time. Yurt is mainly characterized as easily transportable, compact, ecological and practical home. The yurt used as livestock housing in their daily life and urban residents as a gazebo, which reinforces the sense of the continuity of the traditions of their ancestors.

Kazakhstan 2014