In all submitting states, sericulture and traditional production of silk for weaving includes series of practices traditional knowledge, skills and crafts of the communities concerned related to growing mulberry trees, breeding silkworms, producing silk threads, for weaving and other purposes. Farmers grow mulberry trees that provide leaves upon which the worms feed, then produce silkworm eggs and ensure care of the silkworm (feeding with mulberry leaves) from the egg stage until the completion of the cocoon (turning matured silkworms to cocoons). Communities then produce silk by reeling from the silk threads, weave silk fabrics and use the fabrics in crafts. Craftspeople of both genders produce raw silk by means of raising larvae, particularly those of the domesticated silkworm to form the cocoon within which the larvae develop. The silkworm builds its cocoon by surrounding itself with a long fibre or filament. Fed by fresh mulberry leaves, silkworms start to spin their silken cocoons after 26-28 days. The whole process begins in March to September depending on the climate. The cocoons are collected before pupa pierces its cocoon and then those collected cocoons are dried. Silk containing sericin is called “raw silk”. The gummy substance is usually retained until the yarn or fabric stage and is removed by boiling the silk in soap and water. Communities then bathe cocoons which then soften and allow for the peak of the thread to be obtained. In order to obtain raw silk, several cocoons that gave the threads are put on reeling process at the same time. In order to clean up and to dry, obtained raw silk is taken from reel and hanged on the reed. In the preparation for the weaving process, people twist threads and unwind warps. After drawing-in and wimple is made ready, the weaving process begins. In order to remove cerasine fabrics, woven with raw silk yarn, people boil the fabrics in water containing soap. After boiling process, communities color and trace the fabrics by using various traditional methods. Craftspeople use the silk threads to create various types of craft products, such as fabrics, carpets. The products of silk are very much appreciated within the communities, who use them at various social and cultural occasions, including weddings, funerals and family gatherings. Deeply rooted in the traditions of the Great Silk Road, sericulture and traditional production of silk for weaving are an expression of cultural identity, centuries-old traditions and a symbol of social cohesion. While the silk trade has been carried out throughout the centuries, it has allowed spreading the silk culture, health and science among communities of the submitting states. In all submitting states silk functions as the symbol of splendor, elegance and spring. In all submitting states, silk producers are mostly villagers and they work cooperatively and they have special ceremonies for silk when it is produced.

Afghanistan,Azerbaijan,Iran,Tajikistan,Turkmenistan,Turkey,Uzbekistan 2022

Bài Chòi is a form of entertaining card playing in the form of answering questions. In Bình Định, there are three forms of Bài Chòi: "story" Bài Chòi with a backdrop and theater; Bài Chòi "class"/ "mat" takes place on the mat and the Bài Chòi playing festival. Among them, the Bài Chòi festival has the largest scale, taking place during Tet holidays in the village communal house yard or a large, flat areas of land, near residential areas and markets. Nine or eleven houses with thatched roofs, made of bamboo and cork, are erected in a U shape during a Bài Chòi celebration. Cái hut is the name of the hut at the bottom of the U. Leading the game are the "Hiệu", people who are knowledgeable and good at male singing, guest singing, Lý singing, etc, know many poems, and folk songs, know how to make jokes, and at the same time, respond quickly, sitting in the Cái hut. They draw a card from the tube, hold it up, and sing a riddle about the name of the card, called Hô Thai. Players buy 3 cards and sit on huts to wait. If all 3 cards match the cards named by "Hiệu", then you win, receive a reward, and end the game. Bình Định Bài Chòi Art has musical accompaniment from erhu, duet, trumpet, and war drum. The "Hiệu" when shouting or singing must follow the rhythm of the musical instruments, especially the war drums. Players can also compete in singing and responding with "Hiệu", creating cheerful laughter and optimism for participants.

Viet Nam 2017

Although the origin of yak breeding in Nubri is not known, it can be stated that it has been practiced there for a very long time. The villagers get almost all their needs from the yaks. Milk is the most important product obtained from the yaks. It is consumed either raw or boiled. Raw milk is also used to make tea, and it is also sold or bartered. Milk can also be used to make butter, which fetches a good price. There are two types of butter production: churning and machine processing. In churning, butter is traditionally made in a wooden vessel. In machine production, modern technology, a milk separator, is used to extract butter. Cheese and hard cheeses are also a good source of income for livestock farmers. Then the whey is used. Of all the products obtained from yak, Phe-lu is another unique traditional dish. Phe-lu is a sticky substance that tastes like aged cheese and is specially made from the milk of Bjim (female yaks). There are two types of Phe-lu: one made from milk and the other from curd. Phe-lu made from milk is considered better because cheese made from curd can easily turn into zoedey (fermented cheese). For a kilogram of milk Phe-lu, one gets about 800 to 1000 Ngultrum (Bhutanese currency), and for a kilogram of curd Phe-lu, slightly less, about 600 Ngultrum. It is usually produced in the highland areas where people depend mainly on livestock and dairy products. Phe-lu is a remarkable representation of nomadic life. It shows how nomads subsist only on milk, but in different ways, either by selling it or consuming it directly. In Paro Dzongkhag, Tsento Gewog is located in a highland area where yaks are raised and dairy products are either sold or bartered. Phe-lu, which is made from yak milk, is produced in Tsento Gewog. Phe-lu is mostly made in the 5th, 6th, 7th and 8th months of the Bhutanese calendar.

Ensuring solidarity and collective identity, national and religious holidays, celebrations, feasts, commemorations are of great significance as regards to social values. The providers, the distribution and the consumption of the food are strictly determined on these special days. Traditional ceremonial keşkek is one of the social practices which sustain its significance from the past to our present day. Keşkek tradition is practiced at circumcisions, wedding ceremonies, religious holidays such as, Ramadans, sacrifice Aid, Muharram Month (first month of the Islamic calendar), charities, pilgrimage feast, prayers for the rain, Mevlid (Islamic poetry reading), Hıdrellez (a kind of seasonal celebration) and similar practices. Preparation and consumption process of keşkek bears a collective character. Particularly in village communities, preparation of ingredients and cooking process of keşkek are actualized through collective work. The villagers contribute to keşkek ceremony by providing the ingredients and participate in cooking process. Wheat and meat are the basic ingredients of keşkek. The main ingredients are provided by the household on special days for the family and the dwellers of the village provide the work force if needed. The wheat for keşkek, of an amount proportional with the number of participants, is washed with prayers a day before the wedding ceremony. Accompanied by davul-zurna (traditional Turkish musical instruments) the wheat is carried carefully to a large stone mortar. The wheat is hulled on the large stone mortars by two or four persons using gavels in a fixed rhythm. The rhythmic sound is a sign for the start of wedding ceremony. The hulled wheat is one of the main ingredients of keşkek to be prepared on the wedding morning. Meat is the other main ingredient for keşkek. Cooking keşkek requires specialized knowledge therefore it is carried out by experienced persons called ""keşkekçi"" (keşkek maker). Keşkekçis are trained in a master-apprentice tradition. Cooks and his assistants in charge of keşkek cooking start the preparations at early hours in the morning of the day before the ceremony. As weddings - the primary occasions for ceremonial keşkek tradition – are usually held during summer or early autumn, keşkek is usually cooked outdoors. Requiring a long-lasting source of heat, keşkek is cooked in large copper cauldrons, the bottom of which is smeared with ash to protect it before being put on a big open fire. Hulled wheat, chunks of meat on the bone, onions, spices, water and oil are all put together in the cauldron. It is important to maintain the heat at a certain temperature while cooking. Therefore, cook and the assistants take turns to maintain the cooking process as desired until morning. Watching the heat and preparation of the side dishes to be served with keşkek last all night long. This night spent around the keşkek is full of stories, friendly talks and jokes. The cook checks the keşkek cauldron in the morning of the wedding day. Towards noon, the most important phase of the keşkek tradition takes place. The strongest of the village youth, who were previously chosen for ‘keşkek dövme (keşkek beating)’, are called in to ‘beat’the keşkek with a wooden tool which can be named as ağaç kepçe (wooden ladle) tokmak (gavel), çomça or şişe. This is in a way a mashing process. The rhythm while hulling the wheat goes on during the beating process as well. The wooden tools are used in a rhythmic order. The beating process of keşkek attracts great interest among the crowds. To motivate the beating youth, the crowd cheers and sings folk songs. During the beating, one or two persons apart from the beating youth take the bones out with a special kind of tongs. The neighboring towns and villages are invited and keşkek is collectively consumed in the ceremony premises (courtyard of mosque for religious holidays, bride’s or groom’s house on wedding days, a sacred venue for charities and hıdrellez). Prayers are uttered before and after the feast. The pots and pans used during ceremony are collectively washed. A special set of equipments are necessary for the preparation of keşkek. The stone mortar, a collectively owned product of particular craftsmanship, a copper cauldron made especially for such ceremonies and tinned regularly. Hand made ladles and gavels made of wood are among the most important tangible elements of the keşkek tradition. The most significant aspect of the tradition is unifying all people in this ceremony regardless of age, ethnic origin, gender and culture even being invited or not. The hosts of the ceremony check whether all the guests are at the dining table for keşkek. Each person attending to keşkek ceremony is considered as an element of this cultural environment. All individuals within the community through participating in such a ceremonial event have a sense of belonging. This ‘sense of belonging’ reflects itself with the common expression ‘our keşkek is better’, which is a bare evidence of considering keşkek as an important element of cultural heritage. Keşkek ceremony should be practiced with all the components of the tradition or else it loses its traditional aspect for the bearers. In Zonguldak-Ereğli on the west coast of Black sea Region, there is a village named ‘Keşkek’. People from the neighboring villages go to this village, which is a developed locality among the surrounding places, in order to worship on Holy Friday and the visitors are served keşkek there. This clearly explains why the village is called ‘Keşkek’. The villagers see keşkek as a major part of their cultural identity and they are glad to have the name keşkek for their village. Today, this ceremonial tradition, through organizing keşkek festivals and festivities has been preserved by the intimate efforts of city and district municipalities and the hemşeri (locality fellowship) associations, founded by fellow citizens for creating a kind of solidarity. It is observed in these occasions unifying aspects of ceremonial keşkek tradition continues in the cities as well. Preservation of this tradition in the cities is particularly important in terms of how much this tradition is embraced by the communities concerned.

Turkey 2011

Tea culture is an essential part of social and cultural life and is an important social practice aiming to show hospitality, celebrate important moments in lives of communities and helping them to build and maintain social relationships and enjoy moments by drinking tea for social exchange and interaction. It also represents knowledge, traditions and skills linked to cultivating, preparing and drinking tea by communities in Turkey and Azerbaijan. Tea is an agricultural plant the leaves and buds of which are used to make beverage. Tea plant transforms into dried leaves after steps such as plucking, withering, disruption, oxidation and drying. Although there are different types and brewing techniques in both countries, communities harvest and consume mostly the black tea. Traditional techniques used in preparing and harvesting tea led to development of special tools and vessels such as teapots, samovars, silver tray, woven tea baskets and tea plucking shear. Communities brew tea by using a great variety of kettles, produced in traditional craftsmanship, called “çaydan” or “çaynik” in Azerbaijan, a double container called "çaydanlık" (tea pot) in Turkey and samovar in both countries. Water is boiled in the larger pot and tea leaves are added to the smallest pot. Samovar is a traditional copper, clay, metal or brass container used to heat and boil water for brewing tea in smaller teapot, which is put on samovar. This method allows people to drink tea as they desire: strong or light. In rural areas especially, communities use metal samovars or “çaydanlık” heated with wood. Tea is traditionally served in special pear-shaped cups called “armudu” (literally, “pear-like”), made from glass, porcelain, faience, and silver in Azerbaijan and similarly small tulip-shaped glass, which is called “ince belli bardak” (thin waist glass) in Turkey. Communities traditionally serve tea freshly, brewed and hot, accompanied with various sweets, pastry, sugar, slices of lemon, jams and dried fruits. In different regions of Azerbaijan, communities also add local spices and herbs to tea, such as cinnamon, ginger and thyme. There is a special style of drinking tea with sugar called “kıtlama” or “dishleme” in both countries. In this style, tea is drunk by placing a piece of sugar between tongue and chin instead of pouring sugar directly into glass.

Azerbaijan,Turkey 2022

“Community” refers to a group of people living in the same village or several nearby villages, although there is a geographical boundary. Therefore, some properties, for example, temples, pagodas, Barays, lakes, ponds, canals, streams, forests, fishery resources, etc., although located in any village, are considered the property of the community or the nation as a whole. According to locals in the Angkor area, in the past, in some villages, there was always a pond or lake for the community to catch fish together to cook for various festivals, especially “Lerng Meak” festival. But now, among more than 1,550 villages in the Angkor area, only one village still has the tradition of community fishing in a lake, which locals call "Boeung Bang Kong pond ", located east of Angkor or north of Prasat Lolay. In fact, the pond of Boeung Bangkong is an ancient pond, as you can see the remains of the stone sculpture on it. On the back of the lake, there are old Neakta huts in all four directions. The villagers have a strong belief in this pond. If a cow is lost, the villagers always come to pray for the Neakta in this pond to help. In addition, pregnant women are not allowed to walk on the dam because it can cause miscarriage. Traditionally, every year, the elders in Bangkong village bring fish to Boeung Trapeang Bangkong to eat and cook during the Lerng Meak or ancestor ascension ceremony, which took place on the back of the Boeung Trapeang Bong Dam. However, since 2005, since the villagers built Sala Chor Tean, a communal building, in the center of the village, the elders celebrate the festival at the Sala, instead. The following is the fishing tradition of the Bangkong community for the "Ancestor Ascension Ceremony" which took place on the 7th of Roach Khemak, the year of Pansak BE 2557, which is on the 20th of February 2014 (this year's ancestor ascension ceremony is later than the village Other 3 days). This community fishing ceremony starts in the early morning (about 7 o'clock) when the villagers and the community committee have a village chief, acharya and elders come together. In this village, there are also some rules and regulations, such as not allowing other villagers other than the villagers to catch fish or use the lake, not to use nets or nets that are too small, except for some fishing tools such as nets and other fishing traps. Fishing in the lake is divided into two periods: in the morning, the villagers can catch fish by individual families or groups in the whole lake, except for some banned parts. The fish caught in the morning can be grilled or grilled, eaten on the spot immediately, and can be taken home. In the afternoon, all the villagers can catch fish at the place where the group kept the fish, but the fish caught now are not taken home or kept for personal use, that is, to be prepared for cooking during the festival. The food usually made for the ceremony includes barbecue, fried noodles, noodles, pickles and spices. It is not until 2 or 3 pm tomorrow that the Ancestor Ascension Ceremony begins, as in other villages in the Angkor area.

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.

The Rice Paper Making in Mỹ Lồng, My Thanh commune, Giong Trom, Ben Tre was born more than a hundred years ago. At first, the rice paper kiln only produced for many families in need during the spring days, Tet months or death anniversaries to worship ancestors, spring gifts for the family or in-laws, to entertain guests during the spring days or death anniversaries. By the 1980s, the 20th century, Rice Paper Making in Mỹ Lồng gradually became a commodity product and developed into a craft village, a craft commune. The difference between My Long rice paper and other places is that My Long rice paper is made from sticky rice and rich coconut milk of the homeland. The rice used to make the rice paper must be delicious, fragrant, not too dry, washed thoroughly and ground into a watery powder. The coconut must be old, with thick flesh, grated to get a thick and viscous milk. Mixing the rice paper is usually done by experienced people, the right and sufficient flour will prevent the rice paper from sticking to the mold, making it easy to flip when drying. People make rice paper with many flavors, especially with coconut or ginger, creatively combining the experience left by their grandparents. Finely ground rice mixed with coconut milk, ginger essence - depending on preference, you can add flavor, egg yolk to the cake, along with some spices such as sesame (black, white), salt, milk ... My Long grilled coconut rice paper product is famous for its characteristic stickiness, fatty taste and strong aroma of traditional sesame rice paper. Nowadays, rice paper has many varieties for tourists to choose from such as: egg milk rice paper, salty rice paper, ginger rice paper ... My Long rice paper has become the pride of the people of Xu Dua, Ben Tre province. With its typical value, the Rice Paper Making in Mỹ Lồng, Ben Tre province was included in the List of National Intangible Cultural Heritage in 2018 by the Ministry of Culture, Sports and Tourism.

Mesir Macunu (paste) Festival has been annually celebrated for 472 years during March 21st-24th of each year. The roots of Festival go back to a historical anecdote about the mesir macunu, Hafsa Sultan, mother of the Ottoman Ruler Suleiman the Magnificent contracts an incurable disease. In an effort to find a cure for this disease, Merkez Efendi, the Chief Physician of the Madrasah of Sultan Mosque concocts a special experimental recipe of a paste with 41 different herbs and spices. This special paste to be thenceforth known as the mesir macunu (paste) cures Hafsa Sultan rapidly. Hafsa Sultan then asks to disseminate this paste to the wider public, hoping that it would ensure the well being of each and everyone. Wrapped in small pieces of paper, the paste is then “scattered” to the community, from Sultan Mosque. Since then, at each and every anniversary of this event, people gathering around Sultan Mosque commemorate the invention of this healing paste, through a series of events. The festival begins with the “mixing” and cooking of the mesir macunu, prepared in respective proportions and mixtures in line with the traditional know-how. Blessed with wishes for cure, the paste is then packed up by women according to the traditional knowledge. It is then scattered among the public from the top of the minaret and the domes of the Sultan Mosque. Thousands of people coming from different regions of Turkey compete with each other, in a challenge to grab these pastes in the air, before they finally hit the ground.

Turkey 2012

The Baba and Nyonya communities are well known for their traditional culinary normally based on Chinese cooking but adapted to suit the buds of the Babas who love the Malay hot dishes. Their dishes are served during celebrations such as Chinese New Year, birthdays and weddings. The dishes are like curries, pastes, pang-teh, bak-wan, crab soup, timitik duck where the duck is covered with preserved vegetable, siohi duck where the duck is covered with spices, as well as nyonya pickle, and nasi lemak. The cakes are kuih bakul or tih kuey, and kuey-ku in the shape of a tortoise coloured in red, blue and black.

Sayong clay is a material for craft making of the traditional pottery in Malaysia. The pottery work crafted as a water vessel adapting the form of pumpkin/bottle gourd is called Labu Sayong. Further inspired by the nature, the decoration on Labu Sayong body used the flora and fauna as main motif. Such motifs that can be found as ornamentation on the labu sayong are designs based on local flowers (bunga tanjung, bunga pecah empat), spices (clove, star anise) and leaves (bamboo shoots). It is even believed that the drinking water stored in the labu sayong has certain health properties to cure common ailments like cough and fever. The beautiful workmanship present in each labu sayong can be attributed to the fine skill of the craftsmen as well as the high quality of clay used in the process. These days, the traditional pottery is crafted as a decoration and souvenir.

Inscribed in 2013 (8.COM) on the Representative List of the Intangible Cultural Heritage of Humanity As the temperature falls in late autumn, the topic of choice for most Koreans is kimjang, making a large quantity of kimchi to sustain them through the country’s long and harsh winter. Kimchi, a categorical name for Korean-style preserved vegetables seasoned with local spices and fermented seafood, was recorded as part of Korean diet as early as 760 years ago. Kimchi has been an essential part of Korean meal across class and regional differences. The most humble meal consists of cooked rice and kimchi, but even the most luxurious banquet is not complete without kimchi. Kimjang incorporates Koreans' understanding of their natural environment, and closely reflects their regional ecosystems. Over time, Koreans have developed methods that best fit their specific natural conditions. Kimjang is thus deeply rooted in the natural milieu of Korean habitats. Preparation for kimjang follows a yearly seasonal cycle. In spring, households secure shrimp, anchovy, and other seafood for salting and fermenting. In summer, they purchase sea salt to be stored for up to two or three years, to let the bitter taste of brine out. In late summer, red chili peppers are dried and ground into powder. In late autumn housewives carefully monitor weather forecasts to determine the optimal date for kimjang: it is important to choose the right temperature for the kimchi to acquire the best taste through storing it in cool and stable conditions. In the custom of exchanging kimchi among households after kimjang, innovative skills and creative ideas are shared and accumulated.

South Korea 2013