Due to the countless reasons affect the intangible cultural heritage of Mongolia, number of heritage elements are on the very brim of extinction. Therefore, establishing concrete and inclusive system for the safeguarding of the ICH is crucial in Mongolia.\nOne of the measures taken by various stakeholders for the protection of ICH as well as development of overall safeguarding capacity of ICH was the Mongolian-Korean Joint Cooperation Project ‘Establishing a Safeguarding System for ICH in Mongolia’. This project was launched in 2008 by Mongolian National Commission for UNESCO. By the implementation of the first-phase activities under the framework of the Project, a number of meetings were held among the Project partners, implementers and coordinators.\n\nWithin the framework of the second-phase of the Project:\n- Continuation of field surveys in other regions, including Central, Eastern and Gobi aimags\n- Organization of the symposium and workshop on the issues of intangible cultural heritage and safeguarding thereof\n- Elaboration of tentative list of ICH and its bearers\n- Text preparation of guidebook of ICH in Mongolia were planned to be implemented respectively

The master is making a Kazakh carpet in the photo. Kazakh carpets are woven or knitted, typically using three main materials wool, natural cotton, and silk fibers. In some cases, camel or goat wool is used. As a rule, nap fibers of wool are used to make knots in hand-carpet weaving.

Mosikaka weaving is special to Tongans, who identify themselves with the craft. It is a distinct art form that belongs to Tongans and no one else. Historically, mosikaka basket making was done for royalty alone. At the same time that mosikaka weaving is revered, it is also is a very rare, not only in terms of the resource material used but also in the process of doing the actual weaving. Mosikaka weaving is an identity of Tongan cultural heritage. It needs reviving and safeguarding, and it needs to be taught and practiced in schools and the community.

Mosikaka weaving is special to Tongans, who identify themselves with the craft. It is a distinct art form that belongs to Tongans and no one else. Historically, mosikaka basket making was done for royalty alone. At the same time that mosikaka weaving is revered, it is also is a very rare, not only in terms of the resource material used but also in the process of doing the actual weaving. Mosikaka weaving is an identity of Tongan cultural heritage. It needs reviving and safeguarding, and it needs to be taught and practiced in schools and the community.

Mosikaka weaving is special to Tongans, who identify themselves with the craft. It is a distinct art form that belongs to Tongans and no one else. Historically, mosikaka basket making was done for royalty alone. At the same time that mosikaka weaving is revered, it is also is a very rare, not only in terms of the resource material used but also in the process of doing the actual weaving. Mosikaka weaving is an identity of Tongan cultural heritage. It needs reviving and safeguarding, and it needs to be taught and practiced in schools and the community.

The ger, a traditional dwelling created by nomadic Mongolians, is specifically designed to fit their way of life. Its semisphere shape helps the ger endure storms and tempests. It has solutions for heat control and ventilation. It is flexible in terms of size and design, and it is portable and lightweight. Over the course of history, Mongolians have re-created and developed the ger and have accumulated extensive knowledge associated to its ritual, craftsmanship, and traditional customs.

The ger, a traditional dwelling created by nomadic Mongolians, is specifically designed to fit their way of life. Its semisphere shape helps the ger endure storms and tempests. It has solutions for heat control and ventilation. It is flexible in terms of size and design, and it is portable and lightweight. Over the course of history, Mongolians have re-created and developed the ger and have accumulated extensive knowledge associated to its ritual, craftsmanship, and traditional customs.

The ger, a traditional dwelling created by nomadic Mongolians, is specifically designed to fit their way of life. Its semisphere shape helps the ger endure storms and tempests. It has solutions for heat control and ventilation. It is flexible in terms of size and design, and it is portable and lightweight. Over the course of history, Mongolians have re-created and developed the ger and have accumulated extensive knowledge associated to its ritual, craftsmanship, and traditional customs.

Khon masked dance is the most iconic of Thai masked dances. It is characterized by impressive visuals that span various genres of art, from the elaborate embroidery on the costumes to highly detailed props such as masks and swords made by master craftsmen. Traditionally, Khon masked dance was performed only in the royal court and enjoyed by male members of the royalty. It is performed by over 100 masked dancers, a narrator who explains the plot of the play, a large piphat (traditional Thai musical ensemble comprising string instruments and percussions), and a chorus.\n\nThe content and theme of the Khon dance is based on the Ramikien, a Thai adaptation of the Ramayana (2nd century BC), one of the two major Indian epics. According to the Khmer dictionary, the word ‘khon’ means role play. Dancers act out the narration silently. Major characters include the prince (the hero), princess, giant and monkey. Only the giant and the monkey wear masks. As the dancer’s every movement has to fit the role perfectly, Khon dancers have to be trained from a very young age.\n\nCharacteristics:\n· Representative masked dance of Thailand\n· Performed by male dancers in the palace\n\nPerformed by Insawang Suphachai\nDirected by Insawang Suphachai

Khon masked dance is the most iconic of Thai masked dances. It is characterized by impressive visuals that span various genres of art, from the elaborate embroidery on the costumes to highly detailed props such as masks and swords made by master craftsmen. Traditionally, Khon masked dance was performed only in the royal court and enjoyed by male members of the royalty. It is performed by over 100 masked dancers, a narrator who explains the plot of the play, a large piphat (traditional Thai musical ensemble comprising string instruments and percussions), and a chorus.\n\nThe content and theme of the Khon dance is based on the Ramikien, a Thai adaptation of the Ramayana (2nd century BC), one of the two major Indian epics. According to the Khmer dictionary, the word ‘khon’ means role play. Dancers act out the narration silently. Major characters include the prince (the hero), princess, giant and monkey. Only the giant and the monkey wear masks. As the dancer’s every movement has to fit the role perfectly, Khon dancers have to be trained from a very young age.\n\nCharacteristics:\n· Representative masked dance of Thailand\n· Performed by male dancers in the palace\n\nPerformed by Insawang Suphachai\nDirected by Insawang Suphachai

Khon masked dance is the most iconic of Thai masked dances. It is characterized by impressive visuals that span various genres of art, from the elaborate embroidery on the costumes to highly detailed props such as masks and swords made by master craftsmen. Traditionally, Khon masked dance was performed only in the royal court and enjoyed by male members of the royalty. It is performed by over 100 masked dancers, a narrator who explains the plot of the play, a large piphat (traditional Thai musical ensemble comprising string instruments and percussions), and a chorus.\n\nThe content and theme of the Khon dance is based on the Ramikien, a Thai adaptation of the Ramayana (2nd century BC), one of the two major Indian epics. According to the Khmer dictionary, the word ‘khon’ means role play. Dancers act out the narration silently. Major characters include the prince (the hero), princess, giant and monkey. Only the giant and the monkey wear masks. As the dancer’s every movement has to fit the role perfectly, Khon dancers have to be trained from a very young age.\n\nCharacteristics:\n· Representative masked dance of Thailand\n· Performed by male dancers in the palace\n\nPerformed by Insawang Suphachai\nDirected by Insawang Suphachai

Khon masked dance is the most iconic of Thai masked dances. It is characterized by impressive visuals that span various genres of art, from the elaborate embroidery on the costumes to highly detailed props such as masks and swords made by master craftsmen. Traditionally, Khon masked dance was performed only in the royal court and enjoyed by male members of the royalty. It is performed by over 100 masked dancers, a narrator who explains the plot of the play, a large piphat (traditional Thai musical ensemble comprising string instruments and percussions), and a chorus.\n\nThe content and theme of the Khon dance is based on the Ramikien, a Thai adaptation of the Ramayana (2nd century BC), one of the two major Indian epics. According to the Khmer dictionary, the word ‘khon’ means role play. Dancers act out the narration silently. Major characters include the prince (the hero), princess, giant and monkey. Only the giant and the monkey wear masks. As the dancer’s every movement has to fit the role perfectly, Khon dancers have to be trained from a very young age.\n\nCharacteristics:\n· Representative masked dance of Thailand\n· Performed by male dancers in the palace\n\nPerformed by Insawang Suphachai\nDirected by Insawang Suphachai