India is the repository of an astounding wealth of intangible heritage with distinctive qualities of its own. The variety of geophysical features of India reflects its cultural diversity, from the Himalayan peaks to the sea coast, river-fed plains, marshlands, and deserts, all of which has helped shape its intangible culture in consonance with nature. India is a pluralistic society that combines different religions, faiths, racial communities, languages, and cultures. It has a wide range of artistic activities, traditional knowledge systems, folklore, performing arts and festivals, with about eight hundred dialects, and more than twenty officially recognized languages, several faiths, various styles of art, architecture, literature, music, dance, and lifestyle patterns from the urban and rural to the tribal.

Malaysia is a developing nation of Southeast Asia. A few of their famous slogans reflect the diversity of its present ethnic groups in terms of language, customs and traditions inherited from past generations, ‘One Malaysia‘ and ‘Malaysia Truly Asia‘. Malaysia’s cultural fusion is the result of immigration, trade and cultural exchanges over many centuries with Arab nations, China, and India, where the arrival of the first foreigners brought along with them their wealth as well as their cultural heritage and religion. Presently, these ethnic groups still maintain their cultural traditions, but managed to come together to develop Malaysia’s unique and contemporary diverse heritage.

The Yakan is one of the major ethnolinguistic groups of the Philippines. Among the Yakan of Basilan in Mindanao, Philippines, instrumental music is given much importance. For instance, the kwintangan, an instrument of five to seven bossed gongs laid in a row, are used for courtship and celebrations.

The National Institute of Folk & Traditional Heritage, popularly known as Lok Virsa, was established by the government of Pakistan in 1974 with a mandate to collect, document, preserve, and disseminate Pakistan’s tangible and intangible cultural heritage.

Ningyo johruri bunraku is a puppet theatre composed of three elements: the chanter, the shamisen player, and three puppeteers. Bunraku originated at the end of the sixteenth century and was first performed outside or inside makeshift theaters, but in the mid-seventeenth century, it began being performed in more prominent theaters in cities such as Osaka, Kyoto, and Edo (now known as Tokyo).

Design intervention has been an established initiative of development projects initiated by governments and NGOs across the world as a means to enhance market reach and the livelihood of traditional craft communities. However, innumerable instances have been cited on the ethics of engagement where design development has ended by benefitting the interests of designers and commercial enterprises while craftspeople have continued to remain unnamed and unknown.

We would like to explore the idea of cultural revitalization within the context of traditional Quebecois dance. This will be done through a fairly well-known example—Brandy Frotté from the town of La Baie. In this short article, we will explore when and how this tradition was first collected and promoted and what has become of its practice over the past forty years.

The small sun-soaked village of Molela, located approximately fifteen to twenty kilometers from the city of Udaipur in Rajasthan, is home to a vibrant community of terracotta clay artists. Over the years, Molela has emerged as a focal point in the art of making attractive votive plaques or idols of gods, with terracotta. While the early creations were originally cast as standing idols of local deities and various forms of the Hindu god Vishnu, today these figures are often mounted on tiles or plaques and are hung from the walls of homes and temples. These votive figurines can be multicolored or can have a terracotta hue, as is represented in the various temples in Rajasthan and Gujarat.

The Marshall Islands, also known as Ralik-Ratak, is made up of twenty-nine low-lying atolls on two archipelago chains. Its history can be traced back to the second millennium BCE when early Marshallese traveled among islands in canoes with stick charts as a navigation aid.

Relative to the creative economy of South Korea, the importance of the Eurasian Turkic states is growing. The reorganized resource-rich countries of the Eurasian continent, ancient nations belonging to the Silk Road, have established themselves from the beginning of the 21st century as political and economic powers in the international arena. CIS countries such as Turkmenistan, Uzbekistan, Kazakhstan, Kyrgyzstan, and Tajikistan were protagonists of the great Silk Road that linked the East and the West that had been cut off from each other in ancient times.

The Turkmenistan intangible cultural property comprises five domains that are summarised below:\n\n1. Oral expressions - oral folklore\n2. Traditions, customs and people’s beliefs\n3. Traditional performing arts\n4. Traditional craftsmanship\n5. Traditional knowledge\n\nEpics are included in the ‘oral traditions’ section. By now more than 10 elements have been identified in this field, including such epics as Gorogly, Shasenem and Garip, Zokhre and Takhir, Khuyrlukga and Khemra, Sayatly Khemra, Asly Kerem, Arzy-Gambar, hatamnama, Warka-Gulsha, Kasym oglan, Melike-Dilaram, Nejep oglan and Tulum Hoja. Gorogly occupies a special position among the abovementioned range of epics.

Epics form a considerable part of the cultural heritage of the Tajik. The oral epic traditions in the Tajik culture appeared and formed in the most ancient period of its history, originating from the mythology of ancient Iranian peoples.