▶ Play Video 1. The World of a Maguindanao Virtuoso: This episode was first aired on Filipino television on August 18, 1994. This episode has been modified from its original format.\n\nThe Maguindanao (Magindanaw, Maguindanaw, Magindanao, Maguindanaon, Magindanaoan, Mindanao) form one of the large ethnic groups of the country. Most of the members are concentrated in the municipalities of Dinaig, Datu Piang, Shariff Aguak, and Buluan, in the province of Maguindanao.\n\nConstant contact with the Spaniards led to naming the entire island after the Maguindanao. The people practice Islam; their culture and social structure are deeply tied to this eligion, forming a conformity without which the group would not have been able to resist the incursions of the Spanish conquistadores. One of the three Philippine sultanates is aguindanao. The Maguindanao sultanate at one period in history could claim ritual authority over southwestern Mindanao. Their socio-political system and the hierarchical structure of their society are complex and similar to that of the Sulu sultanate.\n\nThere are three royal houses: Maguindanaon in Sultan Kudarat, Buayan in Datu Piang, and Kabuntalan in Tumbao, all of which trace their lineage to Sharif Kabunsuan, one of the earliest Muslim missionaries, and Sultan Kudarat. Customary law (adat) is applied, embodied in oral traditions and in accordance with the Paluwaran code, which contains provisions for very aspect of life.\n\nThe culture is characteristically lowland with a special adaptation to marshland, and wet rice is the staple food. Arts and crafts are well developed, exhibiting sophistication in eaving. Through waste mold technology metalwork and with the double-bellows Malaysian forge, they produce a wide range of bronze artifacts including betel-nut boxes, gongs, knives, racelets, and even the Southeast Asian cannon, the lantaka. The lantaka is not used just in warfare, but also as a prestigious status symbol.\n\nTheir ornamental art employs very characteristic design motifs that show affinity with the rest of Southeast Asia while retaining a distinctive ethnic identity. Their musical nstruments include a unique crocodile-motif version of the ubiquitous two-stringed lute, the kutyapi; the kulintang, which comprises eight brass gongs of graduated sizes; and the very large and deep agong, as well as various drums and flutes. Their music is characterized by drone and permutation.

According to CIOFF policy, an international folklore festival will be fully accomplished as a meeting place for cultures when it is organized in the spirit of friendship and promoting a culture of peace. ICH is an excellent culture inherited over generations, a source of cultural development, and a manifestation of cultural diversity. The new management mechanism realizes the integration of ICH and tourism. The launch of “One Belt and One Road” strategy actually provides an important strategic opportunity for the protection and development of ICH. At the beginning of a new civilization cycle, to open a new window of civilization with people of the world. While there are four main cradles of civilization, which, moving from East to West, are China, India, the Fertile Crescent, and the Mediterranean, specially Greece and Italy, India deserves a larger share of credit because it has deeply affected the cultural life of most of Asia. India has also extended her influence, directly and indirectly, to other parts of the world. \n\nAn International Folklore Festival is one of the means to safeguard, to promote and to diffuse ICH, mainly through such genres of expressions as music, dance, games, rituals, customs, know-how of handicraft and other arts. To be a significant contribution to the maintenance and enhancement of cultural identity and diversity, a folklore festival has to be implemented in an appropriate cultural context. The reflections presented aim to develop a pertinent cultural context in existing and in new international folklore festivals. The following items constitute and describe what CIOFF sees as important elements of the term cultural context.

This video was taken as part of NGO Pasifika Renaissance’s efforts to document oral heritage of Sapwuahfik Atoll. It depicts a festive day on the occasion of the International Women’s Day, which was celebrated in a traditional manner, by welcoming those visiting Sapwuahfik islanders from the main island of Pohnpei. It includes footage of preparation of food and dance attire, ceremonial procession of a gift float and accompanying chant, and traditional dance on that day as well as recording of a historical song composed to commemorate WWII and a traditional sailing canoe.

Representative List of the Intangible Cultural Heritage of Humanity, 2016\n" Palov Culture and Traditions was inscribed onto the Representative List of Intangible Cultural Heritage of Humanity in 2016. Uzbek lifestyle is mainly connected with palov (osh) among all other meals. Palov is cooked in a ceremony conducted on the birth in the family and in all ceremonies conducted during a person’s entire life. Even in death ceremonies, palov is cooked to remember the deceased. Based on these traditions we can say that Uzbek palov brings family members, relatives, neighbors, colleagues, and friends closer.\n\nThe social significance of palov is highlighted in the current film with the help of cadres about palov preparation and consumption. Starting from purchasing ingredients, preparing, and consuming palov, the film documents the entire process as well as the conversations among the people making palov"

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2015\nTraditional Balinese dance is a cultural heritage that incorporates Bali’s history, customs, and culture. Balinese dances can be categorized as Wali (sacred), Bebali (semi-sacred), or Balih-balihan (entertainment). Wali dances are performed in the inner sanctum of Balinese temples as a part of ceremonies, Bebali ceremonial dances are performed in the middle compound of Balinese temples as an accompaniment to ceremonies, while Balih-balihan dances are performed in the outer compound of temples, or elsewhere. Topeng is an example of a Bebali or semi-sacred/ceremonial dance.

The ICH festivals in the Kyrgyz Republic are a great way to safeguard the cultural heritage. Kyrgyzstan has a rich ICH and embraces all ICH domains including the oral traditions andexpressions, performing arts, social practices, rituals and festive event, knowledge and practices concerning nature and the universe, and traditional craftsmanship. Festivals feature various ICH domains such as arts and crafts, cuisine, folklore, felt, hunting with birds, horse games, etc. For instance, the festivals Kyrgyz Shyrdagy and the Oimo International Festival are held with the aim of safeguarding and popularizing traditional knowledge and skills of handicrafts, for safeguarding and promoting traditional games, various birds of prey festivals are held, such as Salbuurun and Kok Boru. Moreover, festivals are dedicated to safeguarding oral traditions, such as Aitysh, the art of improvisation as well as many other festivals reflecting traditional cuisine, folklore, etc.

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018\nKhon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds.

Shamanism is one of the oldest forms of religion in Mongolia. The main rite of shamanism is to worship and sacrifice the heaven. Shamanism venerates the blue sky and green earth. In shamanism, there are total 99 deities, including 55 deities (Tenger) of the west who are well disposed towards humans and 44 deities (Tenger) of the east who cause all misfortunes. The shamanic rites seek to invoke the ninety-nine deities, to whom offerings are made. There are also the mountain-rites, cairn-rites, and tree-rites and spring-rites, all of which are related to the traditions and rituals of worshipping the earth as Mother. Together with them, there are the fire–rites, ancestor-rites, saddle-thongs rites, destiny-rites, and horse-rites.

Highly traditional nomadic rites, such as the tusau kesu, have been preserved among the Kazakhs, but the people’s understanding of the rites has been transformed. For Kazakh forbearers, rituals like tusau kesu (cutting the rope) or ashamayga mingyzu (landing on a horse) were rituals for beginning a journey, the journey through life and the exploration of the space around them. Many Kazakh families believe that the tusau kesu rite helps accelerate the child’s physical development so that the child can walk confidently, but if the child walks weakly, the rite can be repeated. The rite also symbolizes the discovery of a life path. The rite transfers spiritual and physical qualities to the child from a respected person elected by the parents. A grandmother, for example, shows the techniques of fetter weaving to her granddaughter.

Kerala is a land where its cultural diversity is relieved by plentiful of traditional and ritual art forms. Vayali is a folklore group born at Arangottukara, a small village in Thrissur district, on 2004 with the sole aim to preserve the traditional and indigenous folklore of Kerala especially the rich cultural treasure along the banks of River Bharathapuzha. And they envisaged their dream by reviving the alienating “Darika Vadham Ritual Art”. The traditional ritual art form of Paraya Comunity, “Darika Vadham” portrays the rigorous battle between the Mother Goddess, Kali and the demon king, Darika.\n\nDirector of the Film : Bhagyanath M / Script & Camera : Bhagyanath M\nEdit : Anup Puthumana / Subtitles: Bhadra S\nOn screen presentation: Fidha & Megha Krishnada

The Yao, one of Vietnam's fifty-four ethnic group, primarily reside in the north. According to Red Yao tradition, a prospective bridegroom is required to go through a twelve-lamp initiation ritual with his bride ahead of their wedding. Through this rite of passage, a man is recognized as a member of the community and granted a religious title and spiritual privileges. He is then allowed to participate as a ritual practitioner in religious events for his family and community. This video depicts a twelve-lamp ritual performed by the Red Yao people in Ban Khoang Commune, Sa Pa District, Lao Cai Province, near the border with China.

Traditional Technique of Making Airag\nThe occasion of fermenting a mare’s milk is celebrated with a feast that is held within three days of tethering foals. The ceremony is held to summon prosperity, to encourage horse herds to multiply, to wish for an abundance of airag (fermented mare’s milk) and other dairy products, and to bless newborn animals. During the ceremony, the proceedings (tethering foals, milking mares, holding a milk libation ritual, reciting milk libation and anointment, and sharing the ceremonial mutton and mare milking feast) are carried out alternately.