▶ Play Video 8. Uwang Ahadas A Yakan Virtuoso\nCourtesy of the Gawad sa Manlilikha ng Bayan Executive Committee\n\nThe Yakan inhabit the island of Basilan just off the southern tip of the Zamboanga Peninsula of western Mindanao, particularly in the municipalities of Tipo, Lamitan, Sumisip, and Tuburan, and the islands of Sacol, Malanipa, and Tumalutab east of Zamboanga. The Yakan belong to the widespread Sama group, and their culture has become too specialized to be distinguished as a distinct group.\n\nThe Yakan’s language is closely related to the Sama, but their culture is more land orientated rather than the sea based. Agriculture consists largely of upland rice, although copra is also widespread. The main religion is Islam with syncretic elements from traditional and indigenous beliefs.\n\nThe Yakan are well-known for their elaborate dress, which is similar for males and females. For instance, both wear trousers. Noteworthy articles include the kandit, a fifteen-meter-long red sash worn by men, and the pinantupan, the women’s overskirt. Textile weaving done on the backstrap loom is much sought after, especially because of the intricate and beautiful motifs. The Yakan is one of the few groups that use tapestry loom producing the sophisticatedly woven pis syabit (headscarf for men) and seputangan (head cloth for women).\n\nThe Yakan have a rich musical tradition based on the pentatonic scale. Their musical instruments are usually made of bamboo, wood, and metal. The daluppak is a digging stick with a bamboo clapper. The kopak-kopak is a bamboo clapper on a stick. The kwintangan kayu is a percussion instrument consisting of five wooden beams suspended horizontally. The ends of the beams are tapered, and these are beaten. It is associated with planting and played to enhance plant growth. The wooden tuntungan is a suspended wooden ercussion plank with jar resonators, played with a pole during the harvest season for the purpose of giving thanks. The gabbang is a bamboo xylophone with five bars. The suling is a bamboo mouth flute used by men in courting. Another used by men to express love or admiration is the kulaing. The kulintangan or kwintangan consists of five bronze gongs arranged according to size and used during celebrations. The agung is a large deep gong used in ensemble performance.

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

The sape is a traditional instrument of the Kenyah people in Sarawak, Malaysia. This boat-shaped instrument is made of the special wood adau and typically has two to four strings. \nSape music carries greater significance than simple per\u0002formance—it has long been used to calm people and treat illnesses. Previously, women were not allowed to play the sape, but it gradually became acceptable for them to per\u0002form. As the materials and playing techniques have changed over time as well, more people are now able to enjoy sape performances. The sape has helped to keep the tradition and beliefs of Malaysia alive through to the modern era.

Our Lady of Peñafrancia is a wooden statue of the Blessed Virgin Mary that is venerated in Naga City, Bicol Region, the Philippines. The image is known to devotees by the title Ina, the local term for "mother", and serves as a place of spiritual tranquility. The feast of Our Lady of Peñafrancia is celebrated every September at a site by the Naga Rivere.\n\nThis video contains footage of the festival, vividly illustrating the intangible meaning and value of the celebration and the beliefs that connect and unite people of different region and generations.

Every year, the people of Nam Giang Village organize a traditional festival at Dai Bi Buddhist temple to commemorate Zen master Tu Dao Hanh. Starting from New Year's Eve to the festival period from the twentieth to the twenty-forth days of the second lunar month, a variety of Buddhist rituals mixed with fold beliefs are performed. \n\nIn particular, the sacred puppet theater serves to convey spiritual enlightenment to the people and deliver their wishes to the Buddha and saints through music and dance. This video tells the story of the members of a Buddhist puppet theater troupe who pray for the wellbeing and happiness of their community.

Overview of Bangkok's unseen routes over its long history of inhabitation , the area was home to many local communities. Hence, multicultural traditions and the coexistence of multiple ethnicities are one of Bangkok’s outstanding characteristics. To this day, many tangible and intangible art forms and systems of beliefs remain intact among the people in Bangkok area. Thus, presenting Living cultural heritage elements within the routes through the lens of The Roots Routes on "Redefining Cultural Heritage Aspect"

The Moriones Festival is a Lenten tradition observed in the island province of Marinduque during Holy Week every year. After Spanish missionaries brought Roman Catholicism to the Philippines in the sixteenth century, Christian culture spread across the archipelago and its beliefs, rituals, and practices were incorporated into the lives of diverse ethnic groups. During the festival period, people in masks and costumes portraying Roman soldiers of biblical times, referred to as "Moriones", can be found roaming the streets. Participants in the Moriones Festival beg for God's mercy and pray for the wellbeing and prosperity of their families.

In the historical books and folk beliefs of the Việt, there have been many stories and legends of Thánh Gióng - the Saint of the ancient Việt who was considered as one of the four immortal gods by the Vietnamese nationwide. The monarchic dynasties of the Great Việt in Vietnam bequeathed him as a Heavenly King. Legend has it that he was born as the result of a magical union between a girl from Gióng village and the giant footprint of the rain god in the Việt’s myths. At the age of three, he grew miraculously into a giant after hearing the King’s appeal to find gifted people to save the country and its people. After defeating the foreign invaders, the hero went to Sóc mountain and flew into the heaven.

If beliefs in fertility associated with aspiration of reproduction remains as a cultural sediment; beliefs in ancestor worship exist in various forms not only in the Việt communities but also in the lives of many ethnic groups; beliefs in village titulary worship make communal houses to become special space for religious activities; then beliefs in the Mother Goddesses has not only spread widely, but also formed large worship centers exceeding a village’s and a commune’s space. In other words, the development of beliefs in the Mother Goddesses is a spatial expansion from the North to the South, from coastal region across the delta to the mountains; from remote areas to urban centers in Viet Nam. Beliefs in the Mother Goddesses is a process of integrating and combining folk beliefs and religious activities of the Việt people and of other ethnic groups such as the Tày, Nùng, Tai, Dao, Cham, Khmer, etc which forms a specific type of Vietnamese folk belief sustainably developed for a long time.

Intangible Cultural Heritage Elements of Ferghana Valley: Traditional Craftsmanship\n\nThe Ferghana Valley is a cradle of ancient Uzbek cultural traditions. In this area, creative folk arts, such as dancing, music, applied art, performances, and national games are highly developed and interconnected as are customs, traditions, and events. Uzbeks, Tajiks, Uyghurs, Kyrgyzs, Turks, Russians, and people of other national and ethnic backgrounds live in the Ferghana Valley. While they maintain and hold their own folk traditions, customs, and festivities, they also engage in Navruz and Mehrjon holidays with each other.\n\n1. Guli Arghuvon Festival\nThe expedition team to Ferghana Valley video-taped the Guli Arghuvon Festival that takes place every spring in the Do‘sti Khudo Graveyard in the Oltiariq District. The holiday is connected with the blossoming of the arghuvon plants (cercis siliquastrum) that grow in front of the graveyard’s mausoleum and stay in bloom for three days. While this particular event is not celebrated elsewhere, similar events, such as Qizil Gul or Guli Surkh (Red Flower), Lola Sayli (Tulip Festivity), Sunbul Sayli (Hyacinth Festivity), and Gunafsha Sayli (Viola Festivity), have found their way onto traditional calendars in different regions. Due to the historically agrarian Uzbek culture, many of its traditions, such as the Guli Arghuvon Festival and the others mentioned, are related to praising plant life and nature itself. Ancient faiths saw the eternity of nature with death coming in autumn when the trees lose their leaves and life returning when plants blossom in early spring. This point of view is the basis for many beliefs and events in agrarian cultures. The Guli Arghuvon Festival is based on ancient calendar events that unite agrarian beliefs and culture with ideas relating to harvests. Holding the event in a graveyard connects the idea that nature undergoes death and birth in the circle of seasonal change.

The Ferghana Valley is a cradle of ancient Uzbek cultural traditions. In this area, creative folk arts, such as dancing, music, applied art, performances, and national games are highly developed and interconnected as are customs, traditions, and events. Uzbeks, Tajiks, Uyghurs, Kyrgyzs, Turks, Russians, and people of other national and ethnic backgrounds live in the Ferghana Valley. While they maintain and hold their own folk traditions, customs, and festivities, they also engage in Navruz and Mehrjon holidays with each other.\n\n1. Guli Arghuvon Festival\nThe expedition team to Ferghana Valley video-taped the Guli Arghuvon Festival that takes place every spring in the Do‘sti Khudo Graveyard in the Oltiariq District. The holiday is connected with the blossoming of the arghuvon plants (cercis siliquastrum) that grow in front of the graveyard’s mausoleum and stay in bloom for three days. While this particular event is not celebrated elsewhere, similar events, such as Qizil Gul or Guli Surkh (Red Flower), Lola Sayli (Tulip Festivity), Sunbul Sayli (Hyacinth Festivity), and Gunafsha Sayli (Viola Festivity), have found their way onto traditional calendars in different regions. Due to the historically agrarian Uzbek culture, many of its traditions, such as the Guli Arghuvon Festival and the others mentioned, are related to praising plant life and nature itself. Ancient faiths saw the eternity of nature with death coming in autumn when the trees lose their leaves and life returning when plants blossom in early spring. This point of view is the basis for many beliefs and events in agrarian cultures. The Guli Arghuvon Festival is based on ancient calendar events that unite agrarian beliefs and culture with ideas relating to harvests. Holding the event in a graveyard connects the idea that nature undergoes death and birth in the circle of seasonal change.