The Mongol boots are made up of vamps, leather bootlegs, hide soles, clips and welts. The Mongol boots are ideal for horse riding, they are spacious, and the upturned tips prevent one from being caught in the stirrups. Mongolian boots are named for the number of the ornaments on it, starting mostly from eight and extending up to thirty-two. The craftsmanship of Mongol boots is a complex art of hand-making workmanship of craftsmen skilled with their ancestral inheritance, through already-set and special technique, style and design.

A traditional craft of making horseshoes and applying them to horse and donkeys’ heels.

Songket is a traditional Malaysian handwoven fabric. It is woven on two-pedal floor looms by the Malay women In Malay Peninsula (West Malaysia) and in Sarawak (East Malaysia). The term Songket is derived from the technique employed to make it: inserting gold or silver thread in between the weft and warp threads. Songket is woven using the Malay weaving loom called 'kek'. Songket is woven as the supplementary weft method, a decorative weaving technique in which extra threads "float" across a colourful woven ground to create ornamental effect. The delicate piece of Songket is the result of many months of skilled handloom weaving by expert craftsmen who learn the art from their ancestors. The identity is traced by its design patterns that use geometry and elements of nature such as flowers, birds and insects. The motifs of tampuk manggis (mangosteen calyx), tampuk kesemak (persimmon), bunga pecah lapan (eight-petal flower), bunga bintang (star-patterned flower), pucuk rebung (bamboo shoots) and awan larat (trailing clouds) are among the most frequently used. These traditional patterns continue to be used, especially in aspects of separation and placing the various parts of the cloth such as the centerfield, main panel and end borders. Unlike the old days, Songket is only worn by royalty and their families. But todays, it is mostly worn as traditional Malay ceremonial costumes during royal installations, wedding, birth, Malay festive occasions and formal state functions.

Malaysia 2021

Type of traditional embroidery which was widely spread in applied design art of Uzbekistan, Gold embroidery was revived at the middle of XXth Century. It's formation goes back to ancient history. At the end of the XIX – beginning of the ХХ century especially Bukhara was the center of crafts associated with gold embroidery. Notably, at that time gold embroidery was mostly dealt by men. But in some cases, when there were more orders than expected, women (who were close relatives of gold embroiderers) could act in the role of assistants. Bukhara gold embroiderers applied several methods of embroidering. These were: 1) "zardozi-zamindozi" – solid embroidering of the background with gold threads 2) "zardozi-guldozi" – embroidering based on design (image), which is cut out from paper 3) "zardozi-guldozi-zamindozi" – a combined method of embroidering, which unites the above-mentioned two methods 4) "zardozi-berishimdozi" –combined embroidering 5) "zardozi-pulakchadozi" –gold embroidering with spangles. Ornamentation in gold embroidery was predominantly of vegetative nature. Geometric patterns were used less often. Main motifs were rosettes, palmettes, bushes, trees, branches, flowerpots with flowers, almonds, pomegranates, cherries and grapes. Usage of certain vegetative motifs, for example, of "guli-chinni" (chrysanthemum), "guli-qashqari" (Kashgar flower), testify to the fact that pictures of Chinese porcelain (since ancient times it was imported to Central Asia and was popular among elites of Bukhara in the XIX – beginning of the XX century), were borrowed and adapted by Bukhara gold embroiderers.

Keste - traditional Kazakh hand-made embroidery with colored thread and needles or hooks (biz/ilgek/ilme) and hoop (kergish). A Kazakh word keste means 'a scheme or painting'. Direct analogues of colored woolen threads embroidery are found in artifacts of the Berel burial in East Kazakhstan, dating from the IV. BC. The embroidery is often made on velvet, plush, cloth, felt, velveteen, cotton and silk with woolen, cotton, silky, golden, silver threads and spun gold. Gimp, beads, coral, pearl beads, silver details are frequently applied. There are about 40 kinds of complex and simple Kazakh embroidery: biz keste - tambour embroidery created with a thin awl-hook; tizbek tigis, shyrash tigis, tyshkan iz, kұs izi (a “bird” seam) shynzhyr, shym keste (tight cover seam without gaps), koykusak, kigash, albyr keste (distichous seam) are the names and versions of tambour embroidery with needle; oraypek/oraypa is a kind of albyr keste; kebeke is a seam similar to Russian embroidery on canvas; zhorme, zhormeme, orys keste, aykas tigis is a cross-stitch embroidery; kereghe bas tigis is a “goat” seam. Baspa is a couched hemstitch technique and shyralzhyn is a simple one. A satin stitch with bedding bedel keste creates relief forms. A columnar seam zhormeu makes zigzag weave. The techniques can be used in combination. Embroidered products are made for domestic purposes and various ceremonies, which led to the species diversity. In festive men's and women's clothing: shapans, dresses koylek, flared skirts beldemshe, sleeveless jackets beshpet, hats, scarves oramal; in interior items: tablecloths, korzhyn etc.

In both Submitting States Turkmen-style needlework is an object of decorative applied art, combining the skills of a certain creative work on different types of fabric. In Turkmenistan, it is the national costumes of women, men, young people, boys, girls, elderly women and men. In Iran, it is mostly the costumes of the Iranian Turkmen enthic group living in the northen parts of Iran but nowadays, it is widely welcomed and used by all Iranians. In both Submitting States, Turkmen-Style needlework begins with the preparation of natural thin silk threads which intertwined together in three (3) layers and twisted into one thread, then straightened with a large needle and the excess is removed. After twisting the three layers separately, the thread itself acquires a kind of shine. The left and right sides are used to create the loops, the dimensions can vary as desired. Piercing the fabric with a thin needle with the right hand, a loop is created, which must be preserved until the next loop is created, held by the thumb of the left hand. Depending on the dominant hand of the Needlewomen, the looping process will happen in the reverse direction. This is the most common needlework style. There are also other Needlework styles that vary depending on the local creativity. Totally, there are seven skills called “Ilme”, “Basma”, “Pugtama”, “Jakhek”, “chekmek”, “El gayma”, “Chigme”. The patterns used, also reveal the territorial identity of the Needlewomen mostly in rural areas. The patterns also symbolise love, freindship, nature, strengnth, etc. Almost all of the needleworkers in both countries are women but in the related jobs such as making the needlework tools, men are also involved. There is no age limits for practicing the element. Traditionally, young girls do it when they are small children learning from their mothers and grandmothers through informal method as a necessary life skill. Its social functions and cultural meaning are wedding dress for bride and groom, used in funerals, cultural events e.g. Nowrouz/Nowruz Celebration, decorative parts of ordinary costumes including: scarfs, manteau, pants, shawls; accessories like headbands, wristbands, necklace, cosmetics bags, women’s wallets/bags/backpacks. Nowadays, this Human-Rights-friendly element is also utilised for contemporary home decorations e.g. table cloth, cushion/pillow sheets, bed covers, wall hangings, & etc.

Iran,Turkmenistan 2022

Sacred texts representing the spirit, philosophy and teachings of the Buddha are chanted by the monks (Lamas) in the monasteries and villages of the Ladakh region. Buddhism in Ladakh has two sects: Mahayana - that follows the Sutra (treatise) tradition, based on the teachings of Budhha delivered in the form of public discourse; and Vajrayana - that follows a highly esoteric tradition based on the principles espoused by the Tantra practices. There are four major sects of Buddhism in Ladakh namely Nyngma, Kagyud, Shakya and Geluk. Each of these sects has several forms of chanting practised on diverse occasions as annual festivals; agrarian, life cycle healing rituals; for general well being, and to attain Buddhahood. Vajrayana Buddhism stresses the visualisation and recitation of Mantra through the practice of chanting. The chanting of Mantras is an integral part of Buddhist life in Ladakh. Buddhist Chanting is primarily practised in a group, by the monks. It is practised everyday in the monastic assembly hall as a prayer to the deities for world peace, and for personal growth of the practitioner. The villagers also patronise this tradition; they invite the monks to their homes for chanting on various occasions, such as family functions and important days in the agrarian calendar. In fact, on any given day, sounds of chanting can be heard in the villages all over Ladakh. It is a part of Ladakh’s daily life and cultural heritage. Monasteries work as the repository of knowledge and tradition, and as a channel for continuation and preservation of chanting. Buddhist chanting is highly evolved and stylised. The young monks are trained under strict and rigorous supervision of senior monks. Chanting texts are recited frequently till they are committed to memory. Thus chanting as a tradition is passed on from generation to generation as an oral practice and knowledge. The senior monks train young acolytes in the correct use of hand gestures ('mudra') that is an integral part of most chanting traditions. Bells, hand drums, flutes and the trumpets are usually used as accompaniments during chanting. They lend musicality and rhythm to the chanting. The four sects of Vajrayana Buddhism have their own different styles of chanting. Chanting styles can vary from one monastery to another, even if they belong to the same sect. In some sects, chanting is also accompanied with dance ('cham'), which is practised in the monastic courtyard. The Cham chantings of Hemis and Phyang, though they belong to the same sect of Kargyudpa, have entirely different chanting styles. The seven forms of chanting included in the dossier represent the diversity of the tradition practised in the Ladakh region. 1. Shargangrima - It is one of the most popular chanting of Gelukpa Sect. This is a eulogy recited by the Lamas as well as by the lay people in honour of Je Tzongkhapa who founded the Gelukpa sect in the 14th and 15th century. In Sargangrima, the chanters address Je Tzongkhapa as the second Budhha and celebrate him as the Son of the eastern province. 2. Nashthan Phyagzod -This chant uses musical instruments and 'mudras' (hand gestures) during chanting. It is a prayer for the 16 disciples or Arhats of the Budhha. Nashthan Phyagzod is chanted by the Lamas for all sects. The Arhats are the direct successors of the Buddha, the bearers of His teachings. The chant is a prayer to the Arhats to stay eternally on the earth for the sake of Dharma. At the end of each stanza, the chanters play drums, blow on a long flute and beat cymbals, providing a musical rhythm to the chanting. The monks symbolically offer music, dance, incense, flowers, lamps and food through 'mudras.' 3. Kunrig – This chant stresses on the internal visualisations by monks through repetitive chanting and 'mudras.' 4. Rigmachutuk – This chanting is performed by monks who dance in the courtyard of the monastery, wearing copper masks, silk robes and special shoes. It is based on two tantric texts. Rigmachutuk are the 16 fairy maidens or 'dakinis' who escort the titular Guru Padmasambhava in his Dharma missions. It is also performed during the funeral procession of senior monks. 5. Guru Mantra - This Mantra is recited by all followers of Mahayana tradition in Ladakh. This text is seen engraved on stones and metals and inscribed in flags and clothes all over this region. It is believed that this Mantra purifies the human beings of their sins. 6. Chod - It is a secret practice that is usually performed in the cemeteries. Chod requires great concentration and high meditative qualities. In this, the performer visualises that his consciousness has separated from his body, and has transformed into a deity. 7. Guhyasamaj Tantra – This chanting includes 'mudras' through which the monks emulate different missions of the Buddha. These chanting rites are performed all over Ladakh in various monasteries and villages. The nomination contains audio-visual documentation of performances conducted in strict adherence to scriptural guidelines, and under the guidance by the chief Lamas in the following monasteries. Thiksay Monastery Spituk Monastery Matho Monastery Hemis Monastery Phyang Monastery

India 2012

Phuong Do Communal House used to belong to Phuong Do village, La Dinh commune, Phu Binh district, Thai Nguyen province, now belongs to Xuan Phuong commune, Phu Binh district. Phuong Do Communal House Festival is a festival associated with the worship of the talented general - Duc Thanh Duong Tu Minh - a great general in the Ly dynasty (11th - 12th century), who had the merit of repelling the Song invaders, firmly protecting the northern border of Dai Viet. Phuong Do people worship him as the village's tutelary god at the communal house. Every year, Phuong Do Communal House holds many festivals, notably in January, April, and October (Lunar calendar). The biggest festival of the year is held from October 9 to 11, with a palanquin procession to thank the village's tutelary god for blessing the people with a bountiful harvest and to pray for favorable weather, good crops, and peace for every family. The offerings to the tutelary god are local products, quite rich and diverse. The palanquin procession is organized elaborately. The village carries the Saint from the communal house to the communal house, with 2 palanquins. Each palanquin has 4 people carrying it, called "palanquin legs", one palanquin goes up to the Upper Communal House, one palanquin goes down to the Lower Communal House. The two palanquins go one way and the other way, forming a closed circle, the palanquins meet, the two palanquins greet each other by turning the palanquin once, then lowering it onto the palanquin legs, the mandarins burn incense and ask to welcome the Saint back to the communal house. After the ceremony, the palanquin is carried back to the communal house, when it reaches the communal house gate, the village palanquin comes out to welcome it, the village palanquin goes first, the two Saint palanquins go behind. After the palanquins are placed in place, the Great Sacrifice ceremony takes place solemnly in the communal house yard. The ritual is performed by the head of the incense burner and the elders, virtuous and prestigious people elected by the villagers, called the Chief Priest and the mandarins. The Chief Priest is the one with the main responsibility for the Saint's sacrifice. The sacrificial costumes are according to regulations, the Chief Priest wears a red tunic, the mandarins wear blue tunic, wear shoes, and wear a hat with a strip. When entering the ceremony, spread out 4 mats in a vertical row in front of the altar: The first mat is called the "nghinh thần" mat, to perform the ceremony of welcoming the gods, reading the wishes, the master of ceremonies stands here to make offerings. The second mat is called the "thu tộ" mat, where the master of ceremonies goes up to enjoy the blessings bestowed by the gods. The third mat is called the "phuc vị" mat, or the "chủ tế" mat. The fourth mat is called the "Bồi tế" mat. The ceremony of the tutelary god at Phuong Do communal house bears the shadow of a feudal court activity with solemn and standardized court rituals. After three drum beats, gongs, and jubilant music, the ceremony takes place with all the rituals of the initial offering, the secondary offering, the final offering, and the final offering. Festival activities with folk games: lion dance, offering, wrestling, cockfighting, quan ho singing, chess playing... create a joyful and exciting atmosphere. As a unique, large-scale festival in the region that attracts a large number of participants, the festival still preserves sacred elements and traditional rituals with typical cultural features of the Northern midland region. The festival expresses the people's aspirations for a better life, and educates about the tradition of patriotism and the morality of remembering one's roots when drinking water. In 2018, the Minister of Culture, Sports and Tourism decided to include Phuong Do Communal House Festival in the List of National Intangible Cultural Heritage, the type of Traditional Festival.

Hát Môn Temple worships Hai Bà Trưng, two female generals who rose up to destroy the invading Eastern Han army in 40 AD. The Hát Môn Temple Festival is held from the 4th to the 6th of the third lunar month to commemorate the merits of the Hai Bà Trưng, who were instrumental in expelling the Eastern Han army. Legend has it that before committing suicide, the two ladies stopped by a restaurant to eat floating cake. Therefore, in the ritual, the community always offers floating cakes to Hai Bà Trưng. The ceremony includes many rituals such as taking Hai Bà Trưng to bathe at Mộc Dục temple; When carrying out the procession, Ms. Trưng Trắc's palanquin goes first, Ms. Trưng Nhị's palanquin goes behind; When the procession returns, the procession of Ms. Trưng Nhị goes first, and the palanquin of Ms. Trưng Trắc follows. King - Two Ladies procession: at the forefront is a group of female soldiers holding a command flag, two white horses, (saddles, bells, and music are the same, plaited with rattan, covered with white painted cloth), a group of female soldiers holding soldiers. gas and precious bowls, two incense burners, two dragon thrones with two dragon heads facing back, and two palanquins carrying the Hai Ba (only the person in the front row walks backward, facing the palanquin - a ceremony to welcome the mother), after each palanquin, Some people carry a box of shoes, some carry a box of mirrors and combs, some carry betel and areca palanquins. Floating cake is a special offering that Kẻ Hát people offer to Hai Bà Trưng on March 6. Residential areas choose representatives to make floating cakes to offer to the Saint. Each ceremony tray includes 6 plates of floating cake. The women wore traditional Áo Dài and ceremonial hats, lined up in two vertical lines to offer ceremony under the guidance of two masters of ceremonies. Before March 6, everyone abstains from eating floating cakes. After offering cakes to the Hai Bà Trưng, villagers can offer floating cakes to worship their ancestors. When conducting the ceremony, there are two masters of ceremonies and two people reading the wishes. When reading the will, there were two teams of female soldiers, wearing brown shirts, holding weapons, and two people holding two rice fans to cover the two wishes (about one meter long, with dragons embroidered on the fan base).

The Nang Hai Festival of the Tay people in Tien Thanh commune (Phuc Hoa-Cao Bang) is one of the traditional festivals of the Tay people with the wish for a new year of favorable weather, happiness, peace and to commemorate the merits of Princess Tiên Dao of the Mac dynasty. The Nang Hai Festival takes place over many days with many worshiping rituals and ceremonies. The Nang Hai Festival takes place in 3 parts: Hai welcoming ceremony, Hai praying ceremony and Hai seeing-off ceremony. The festival includes the moon welcoming ceremony (inviting Nang Hai - the moon lady down to earth), the farewell ceremony between Mother Moon and the Moon ladies and the farewell ceremony (on the 22nd day of the 3rd lunar month of even years). During the ceremony, the shaman wears a red shirt, a red hat, holds a pipe, shakes the dice and prays as if singing a prayer song in the Tay language right in front of the ancestral altar. Behind him are 14 girls holding paper fans, including: the two girls closest to the shaman sit cross-legged in a circle, symbolizing Nang Hai. The remaining 12 girls wore black indigo shirts and rough cloth shoes, lined up neatly in two rows right behind them, and an old woman called "Dẫn Lady" - who was knowledgeable about customs, sang well, and had a happy and peaceful family. At the beginning of the ceremony, the shaman read the prayer, then the 2 girls held fans and rotated them in a sitting position as if in a trance and sang. This was the ritual to invite the Lady to the mortal world. After the ritual to invite the Lady Hai to the mortal world took place in the house, the shaman led the Lady Hai and the 12 children of the Moon Mother to the village's shrine to report to the village's guardian spirit, praying to welcome the Moon Mother to the mortal world. When finished, the “Dẫn Lady” and the girls went to the outdoor sacrificial hut, where the “Dẫn Lady” and the Buddha performed the ceremony to worship the Moon Mother. The Buddha Dao prayed first, the “Dẫn Lady” sang later, and then the 12 children of the Moon Mother sang in unison following the “Dẫn Lady”. In particular, the harmonious and delicate combination of lyrics and songs with traditional dances of the Tay people in most spiritual activities creates an extremely attractive atmosphere. There are many fan dances used in the Nang Hai Festival such as: Sweeping dance rotating from right to left to start a ritual; Harvest dance; Boat rowing dance, etc. Each type of fan dance has the same rule that the dancer must go three times around the ceremony area. Inviting Mother Moon to the earth is a difficult and arduous journey. Only after singing the invitation for the third time will Mother Moon agree to accept the invitation to come down to earth to help people pray for a good harvest and blessings. After the dances and farewell songs, the boat carries the Moons and offerings to the Moons back to heaven. The festival includes sports activities, folk games, etc. The Nang Hai Festival not only has the meaning of praying for a good harvest, but also reflects the Tay people's custom of worshipping Mother, which was created from daily life and production, reflecting the thoughts and aspirations of the working people for a better life. The Nang Hai Festival is an indispensable part of the Tay people's culture in Tien Thanh commune, and is also a highlight in the cultural heritage of Cao Bang province. With such unique and special values, the Nang Hai Festival was recognized by the Ministry of Culture, Sports and Tourism as a National Intangible Cultural Heritage in 2017.

Dansa is the dance of the Cocos Islanders from the Lahad Datu district on the east coast of Sabah. This dance is usually performed during weddings and often-festive occasions. The dance of Dansa or Nona Mansaya of Orang Cocos usually performed by 4 or more couples. There is much feet stomping, making it a very lively dance. Baju Kurung of the woman consists of a loose tunic (in which it refers to a long collarless shirt with a short neckline that is pinned together with a brooch) and is worn over a skirt or sarong. They wear an eclectic mix of ruffled tops and native sarongs while dancing to the beat of the rythmic drum & violin. The men wear the Songkok and leather shoes while the women wear the Kebayak with heels.

Rampanau or Minsurukud is popular among the Dusun communities especially in the districts of Tambunan, Keningau and Ranau in Sabah. Nowadays, this game can only be seen in the Pesta Kaamatan celebration that is the festival after the harvesting season, and rarely played by the communities due to the influence of the flow of epoch modernisation. This game usually uses a sago palm tree branch, hard wood and two bamboo sticks measuring about three metres to 10 metres specially designed as high heel shoes. The sago palm tree branch and hard wood are for placing the feet. The bamboo is punched to make a hole measuring about eight centimetres to five centimetres. To play, the players must walk or run using this 'rampanau' tool. Players who fall down are considered losers.