List of Intangible Cultural Heritage in Need of Urgent Safeguarding, 2012\nAla-kiyiz is the most vivid example of Kyrgyz handicrafts. Translated as “motley felt,” ala-kiyiz represents a felt carpet with ornaments heaved onto its upper surface. It is mostly a carpet for everyday use rather than as element of decoration.\n\nShyrdak is made with a mosaic technique and is one of the most complex techniques in felt carpet making. One of the most important qualities of shyrdak is its durability. The average lifecycle of a shyrdak is approximately a hundred years, sometimes even longer.

Felt making is one of the oldest traditions, bearing an artistic and aesthetic value and symbolism closely associated with folk customs and rituals. The process of collecting wool is twice a year—in autumn and in spring. A story about the historical value and ubiquitous use of rams’ skins. The process and the staged technique of felting. One way to preserve traditional felt making. It is a question of the ecological value of felt, the methods of extraction from natural materials (plants and stones), and the use of certain ornaments associated with nature and animals.

The video shows how jewelry making differs from making other crafts in Kazakhstan, as it has a professional nature and is predetermined by the specifics of production, including the purchase and use of certain metals, of which silver has sacral value. Historical examples of Kazakh jewelers and traditional techniques of minting metal are shown as are jewelry-making processes. Symmetrical ornaments and patterns dominate jewelry designs and they emphasize the historical heritage.

Songket is Malaysia’s traditional gold thread textile technique that creates certain motifs with gold threads woven into plain weaves. Alam Melayu, which is found in the songket pattern and refers to the concept of the Malay world, represents not only beauty but also a symbol of Malay identity and pride.\n\nThe process requires great dedication and absolute precision, while aesthetic beauty and weaving artistry represent a priceless legacy of the Malay community. This video shares the stories and thoughts of a scholar with decades of experience exploring Malay textiles, as well as a songket artisan and a business owner.

Traditional Knowledge and Technique of Making a Bow and Arrow\nIn many countries, people craft bows and arrows, but practitioners in Mongolia are the only ones who still make a bow with bamboo or birch for the medial part; with the sinew of camels, bovine, and equine animals for the outer back part; and with the horn of a wild buffalo or ibex for the inner part. Currently there are five different forms of archery practiced in Mongolia: khalkh, buriad, uriankhai, morin, and sarampai archery. The need to revitalize and develop adequate craftsmanship for each is becoming increasingly important.

The video shows Kazakh keste (embroidery) an original Kazakh folk art and craft. According to experts, the word keste comes from an ancient Iranian word that can be literally translated as “painted”. Since ancient times almost every woman was engaged in embroidery. This art was inherited from mother to daughter. Masters embroidered on domestic canvases, leather, suede, and felt and on imported cloth, silk, cotton, and velvet. Also, experts distinguish the seam biz keste, performed by a conventional tambour seam with the help of a hook. Zeynelkhan Mukhamedzhan, the famous Kazakh artist and master of decorative and applied art, has been reviving this technique. Today, the artist passes his skills to students at the Almaty Art College.

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.

The beautiful Island Nation of the Maldives presents one of its finest example of artistic mastery and skill; Liyelaa Jehun. \nLacquer work or liyelaa jehun as known locally is an outstanding form of handicraft practiced in Maldives.\n\nRed Lacquer.\nThis is the technique used in mixing lacquer with any coloring pigment.

The beautiful Island Nation of the Maldives presents one of its finest example of artistic mastery and skill; Liyelaa Jehun.\nLacquer work or liyelaa jehun as known locally is an outstanding form of handicraft practiced in Maldives.\n\nEngraving Designs.\nAfter applying lacquer, craftsmen scratch the top lacquer layer off, revealing the layer beneath which is in another color to highlight the created intricately beautiful designs.

The beautiful Island Nation of the Maldives presents one of its finest example of artistic mastery and skill; Liyelaa Jehun. \nLacquer work or liyelaa jehun as known locally is an outstanding form of handicraft practiced in Maldives.\n\nColour application technique.\nLacquer is applied onto the wood as softly and smoothly as possible.\n

The beautiful Island Nation of the Maldives presents one of its finest example of artistic mastery and skill; Liyelaa Jehun.\nLacquer work or liyelaa jehun as known locally is an outstanding form of handicraft practiced in Maldives.\n\nLacquer Smoothening.\nThe ihaa gondi is continuously moved around to uniformly distribute the lacquer across the object.

The beautiful Island Nation of the Maldives presents one of its finest example of artistic mastery and skill; Liyelaa Jehun.\nLacquer work or liyelaa jehun as known locally is an outstanding form of handicraft practiced in Maldives.\n\nPolishing.\nAfter the lacquer is smoothened, the product is polished, giving it a glossy look.