Aitys is a contest centred on improvised oral poetry spoken or sung to the accompaniment of traditional musical instruments – the Kazakh dombra. Two performers (akyns) compete with one other to improvise verses on topical themes in a battle of wits that alternates between humorous ripostes and penetrating philosophical reflections. During the competition, the performers sit opposite one another improvising a dialogue on topics chosen by the audience. The winner is the performer considered to have demonstrated the best musical skills, rhythm, originality, resourcefulness, wisdom and wit. The most meaningful and witty expressions often become popular sayings. The element is practiced on a variety of occasions, ranging from local festivities to nationwide events, where practitioners often use the contest to raise important social issues. Although it was traditionally performed only by men, many women now participate in Aitys and use the contest to express women’s aspirations and viewpoints.

The development of information technology is pushing humanity forward. From ancient times the exchange of information has been a vital ingredient in the development of technology, education, culture, and lifestyle. Trade routes were the most ancient organized form of exchange not only for goods but also for technology, religion, and culture. For more than 3,000 years the Silk Roads played a major role in the exchange between Asia, Africa and Europe. Understanding the importance of cultural exchange, understanding, and tolerance, building stable relationships based on the preservation of cultural elements will give a new impetus to development. Representing cultures at the international level in a specific goal and task will focus respect for the efforts of generations and building new connections and relationships.

Nghệ An and Hà Tĩnh are two coastal provinces in the north - central part of Viet Nam. This region is known for its mixed terrain including moutain terrain, flat terrain, delta terrain and coast terrain. Its climate is hasrsh especially in summer, thusbarren land. However, the two riversnamely Lam and La contribute to the creation of ancient alluvial soil shelves that are favorable for wet rice cultivation. The region, therefore, has become a residential area for a long time.\nNghệ An and Hà Tĩnh were formerly known as Nghệ Tĩnh that is attached to the land forming a cultural subregion sharing a same local dialect (Nghệ accent), similar customs, beliefs, folklore, etc. Up to now, Nghệ Tĩnh people in villages and communes have created and preserved an abundant source of folk cultural heritage that is diverse and imbued with the identity of the land named “the Lam River - Red Mountain” where Ví and Giặm folk songs are popularly known.\n

Cultural space of Baysun was recognized by UNESCO as the “Masterpiece of Oral and Intangible Cultural Heritage of Humanity” among the first 19 in 2001. Consequently, in 2008, it was included in the Representative List of the Intangible Cultural Heritage of the Humanity of UNESCO. Inclusion the space to the List enhanced the opportunity of preservation, documentation and conduct scientific researches of artistic traditions and culture of Baysun district. It is a world bringing together settled and nomadic traditions, Turkic and eastern Iranian peoples. The traditional culture of Baysun, besides Islam, has its roots in ancient cults and faiths. In its folklore one can see traditions with elements of Zoroastrianism and Buddhism, animism and ancestors worship. Grazing patterns have not changed in a thousand years. Livestock are still the main measure of wealth, and gardening is a male tradition. Hand spinning wheels, graters, tandirs, water mills, and blacksmiths using bellows all still exist. National clothes are made, such as doppi and chapans and head scarves for men and women, using craft traditions and local ornamental decorations dating from the tenth and eleventh centuries. Old customs and rituals govern life from birth to death. There is much historical heritage and native wisdom in them.

The traditional art of Chèo singing in Ninh Bình province has been known for a long time, associated with a legend of the origin of Chèo singing and its creator Lady Phạm Thị Trân. The traditional art of Chèo singing in Ninh Bình province has been widely practiced in villages/hamlets, communes/wards in 8 districts/cities. Clubs of folklore and Chèo singing in such communes as Yên Nhân, Yên Phong (Yên Mô district); Gia Trung, Liên Sơn (Gia Viễn district); Khánh Hồng, Khánh Cường, Khánh Nhạc, Khánh Trung, Yên Ninh town (Yên Khánh district) have paid much attention to safeguard and promote ancient Chèo tunes.

The film is about a traditional Kyrgyz form of folklore—lamentation (koshok). Experts talk about the contents of Kyrgyz lamentation, the situations in which koshok is performed (lamenting the deceased or the bride, when she is sent to the groom’s family) and about how to perform traditional lamentation.

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.

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

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.

Intangible Cultural Heritage Elements of Ferghana Valley: Social Practices, Rituals and Festive Events\n\nOne of the most ancient cultural locations of Uzbekistan is the Ferghana Valley, which is especially attractive for its peculiar social practices, customs, rituals and folklore song traditions.\n\n1. Shombarak Event\nThe term shombarak means ‘evening welcome’, the name given to the process of taking the bride to the groom’s house. The event is conducted as follows: After the groom puts on the wedding clothes sent by the bride, he goes to the bride’s house accompanied by his friends. Meanwhile, at the bride’s house, the bride’s relatives and neighbours gather and wait for the groom’s arrival. When the groom and his friends are seen from afar, two to three boys go into the bride’s house shouting, ‘The groom is coming’. Shortly thereafter, the groom and his friends, singers, and musicians walk into the house dancing and singing the song ‘Shombarak’. In Shahrikhon, the song is performed in Uzbek and Tajik languages. In addition, after the groom and his friends enter, they also sing folk songs ‘Hay Yor Do‘st, Aylanaman’ (Hey Beloved Friend, I am Enchanted) and ‘Vohay Bola’ (Hey, Guy). In the Asaka District, events connected with conducting a wedding party were studied. The customs associated with the groom’s arrival were recorded. These include laying a cloth under the feet of the groom, spreading a kerchief in front of him (a tradition called ‘blocking the road’), presenting a knife to the bride’s young brother, throwing candies over bride’s head, and singing the song ‘Deydiyo’.\n\n2. Lachak Event\nLachak is another wedding-related event, which takes place when the bride is leaving her family home to join her new husband. The bride's relatives and her mother-in-law attend the lachak event. During a special ceremony that takes place during the lachak, the bride wears a lachak scarf and receives presents from her mother-in-law and sisters-in-law. Following the gift-giving ceremony, a number of folksongs are performed, including yor-yor and lapar songs. When the bride is ready to leave, two breads are laid on her head to express wishes of fertility and prosperity. Then the bride bows to each present while the song `Kelin Salom' is performed. Thereafter, the bride is seen off to groom's house accompanied by a yor-yor song. Through practicing the lachak event, a number of folk songs and practices in Ferghana Valley are preserved.

Intangible Cultural Heritage Elements of Ferghana Valley_Collection on Intangible Cultural Heritage Elements of Ferghana Valley\n\n1. Yalla\nYalla, a widespread folklore song genre, is made up of words that come from poems by classic and modern poets. The songs are accompanied by dancing. Yalla is sung by one, two, or more people with the accompaniment of doira music or a musical ensemble. Most yalla songs are about love and affection, and they possess an attractive, charming, and jolly character.\n\n2. Alla\nAlla (lullaby) is an oral form of ICH sung by one person, usually a mother who is putting her baby to sleep. Alla, popular among Uzbek, Uyghur, and Tajik people, is important in raising a child. Alla is highly emotive in that it allows a child to perceive not only motherly affection but also her spiritual sufferings.\n\n3. O‘lan\nO‘lan is a genre of people’s oral creation. Mainly, it is performed by women with or without doira accompaniment. At Uzbek parties and celebrations, the o‘lan is sung by a girls’ team on one side and a boys’ team on the other side, or it is sung by two people who take sides opposing each so they may perform as though they are having a dialogue. Through the o‘lan genre, people express their hopes, dreams, sorrows, and joy, and the theme of love is at the core of its content.\n\n4. Yor-Yor\nYor-yor is a folk song performed at wedding celebrations. In ancient times, it was widely spread among Uzbek, Tajik, Uyghur, and Turkmen people. Yor-yor consists of two or four lines, at the end or in the middle of each line are the words yor-yor, aylanaman (my beloved one, I am enchanted). Usually, yor-yor is accompanied by doira music performed by women. The high effect of yor-yor is that it simultaneously harmonises sadness with a merry melody and tone and the mood of holiday joys. In yor-yor songs, the bride is congratulated and is praised for her features, wishes, and cherished dreams.

It includes folklore music, dancing, and art performance shows. The folklore music sphere includes various forms of maquoms, feruzs, and tanovars, and different genres, including alla, o‘lan, yalla lapar, madhiya, terma, and khalfachi. The dancing sphere includes geographically diverse national styles as solo performances, duets, group dancing, men’s dancing, women’s dancing in addition to the forms of Khorazm, Bukhara, Ferghana, and Surkhon oasis dances.\n\n1. Katta Ashula\nKatta ashula (a song performed with a plate) is specific to the Uzbek traditional song trend of Ferghana Valley. Usually, it is performed a cappella by two to five singers of the same vocal range who use a plate or tray to project their voices in different ways. In most cases, katta ashula is performed by singers with a high-pitched, wide-ranging voice, and these are some of the distinguishing features of the complex performance style.\n\n2. Lapar\nLapar, a folklore song genre performed without musical instruments, is characterised by the narrow diapason and rhyme reiteration, which are not complicated by the melodic composition. The lapar is performed by girls and boys who compete with each other in the form of dialogue. In this competition, any girl in the circle can address any boy with lapar question, and the boy has to respond with lapar song. If the answer is appropriate, the boy is presented with gift of a handkerchief or a belt-kerchief.\n\n3. Askiya\nAskiya (witty joking) is a national art peculiar to Uzbek people. Askiya cannot be found in the cultural traditions of other people, in terms of humorous wit with the participation of many people in the form of live contest. Askiya is made up of plays on words and puns, both of which require life knowledge, skill, creativity, wisdom, and a high level of intelligence. Askiya masters who compete before big audiences openly and good-heartedly make sharp and witty jokes about the events and shortcomings of daily lives of their contemporaries.\n\n4. Show Arts\nIn Ferghana, the unique national customs, habits, and traditions are preserved. One of them is dorbozlik (ropewalking), which has been passed down for centuries from one generation to the next. These show programmes demonstrate colourful performances of diverse groups such as puppeteers, askiya jokers, lapar and o‘lan singers weightlifters, ropewalkers, snake charmers, all of whom are held with high regard and interest.