Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018\nLkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor \ngods.\n\nMetal chained sash, sometimes with one or more strings, is worn over the embroidered shawl around the body \ndraping from the left shoulder to the opposing right hip.

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018\nLkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor \ngods.\n\nMetal chained sash, sometimes with one or more strings, is worn over the embroidered shawl around the body \ndraping from the left shoulder to the opposing right hip.

Inscribed on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2018\nLkhon Khol Wat Svay Andet is practiced in one community surrounding a Buddhist monastery. The art portrays episodes from Reamker, a Cambodian version of the Indian Ramayana. The purpose of the performance is to honor and seek the favor of the Neak Ta, the guardian spirits of a place and its people, with the intention of protecting the community, promoting prosperity, and ensuring a fruitful harvest. During the Lkhon Khol performance, spirit mediums play a role in facilitating communication and connections between the Neak Ta, performers, and villagers. This practice serves significant ritualistic purposes, primarily associated with the seasonal cycle of rice farming and the needs of farming communities. Lkhon Khol today is performed by men wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. Three of the key roles are not masked; instead, their faces are painted white, indicating that they are neither mortals nor \ngods.\n\nMetal chained sash, sometimes with one or more strings, is worn over the embroidered shawl around the body \ndraping from the left shoulder to the opposing right hip.

Gar-zo (Blacksmith/iron craft) is one of the Bhutan's 13 traditional crafts and is considered as one of the earliest crafts/arts of the Bhutanese people. It is believed that it was introduced by a Tibetan saint known as Dupthob Thangtong Gyalpo in the 14th Century. He is revered by the Bhutanese people as a master engineer for his skill in casting iron chains and erecting them as bridges over gorges. He is supposed to have built eight suspension bridges in Bhutan. One can still see one of the bridges crossing over the Paro Chu, on the road from Paro to Thimphu, and linking the highway to the famous Tachog lhakhang (temple). The remains of another bridge can be viewed at the National Museum in Paro. \n\nHowever, J. LaRocca,D (2006) in his book mentioned that Dupthob Thangthong Gyalpo came to Bhutan for the first time in 1433-44 to gather the iron ore to build bridges in Tibet. The iron he collected was forged into 7000 links by a team of 18 blacksmiths from five villages near Paro, one of the village was Woochu where the art is still practiced today. It was believed that Thangthong Gyalpo distributed 18 anvils as a token of gratitude among the blacksmiths gathered and blessed them to earn their livelihood and flourish the craft. The donation of iron chain links to Dupthob was an evidence that the people of Woochu practiced the iron craft way before Thangthong Gyalpo’s visit. Unfortunately there are no records and even the oldest living master blacksmith had nothing to substantiate on this matter. There were many places in Bhutan that manufactured iron handicrafts before but with passing time the art and skills faded and only few places are still practicing it today, one of it being Woochu.\n\nThe origin of black smithy in Woochu is lost in antiquity. There are no records or documents to trace the origin of the art. However, oral accounts of some elderly people posits that the art might have started out of necessity. Before Woochu was known for its famous blades, it manufactured agricultural tools that were used by the locals. Moreover, recent findings showed that a large forging took place near the place where the iron formation was found. Gaw (Blacksmith) Phajo also believes that the founding of black smithy will not be possible without the iron ore. So he supports the idea of the foundation of black smithy due to the iron ore that was found in the area. The blacksmiths of Woochu manufactured and repaired agriculture tools for the locals before it became known for the famous Woochu blades. Woochu blades are very popular and are known for their tensile strength and durability. There were only three iron craftsmen with traditional knowledge and skills before, all are officially retired now.\n\nBlacksmithing, a traditional craftsmanship handed down for several hundred years, was on the verge of extinction. With not many blacksmiths remaining and even lesser apprentices showing interest in learning the skill. Those who used to practice the trade has died and some were retired. The younger generations seemed disinterested in taking up the art. Initially the blacksmiths in the area took up the art as part of earning daily wage. It was like any other job that fetched money. Moreover, the job of a blacksmith was physically tiring, and the social stigma that the trade carried was perhaps another reason why it has failed to attract the attention of the younger generations in the community. The blacksmiths were looked down in the community. \n\nThe art of crafting fine Bhutanese swords was on the decline. In 2016, His Majesty the King commanded for a training center to be set up in Woochu to revive the dying art. Reviving the centuries-old trade was challenging but not impossible. Royal Metal Craft Center (RMCC) was an intervention aimed at reviving and promoting dying crafts and reinstating it as a source of livelihood. The center is now established and works are underway to further develop it.

Kerala is a land where its cultural diversity is relieved by plentiful of traditional and ritual art forms.\nVayali 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”.\nDarika Vadham is a traditional Ritual art form performed by people belonging to Paraya Community. The performer has to follow strict diet restrictions for two weeks prior to the performance. Darika, a demon king, after being blessed by Lord Brahma has become very cruel to the people. And he has granted blessing from Brahma that, only a Woman can kill him. For killing Darika, Goddess Kali has been created by Lord Siva. And this art form depicts the fierce battle between Goddess Kali and Darika. Costumes for Darika Vadham comprises of Arayodam - a kind of hip chain, Chilambu for legs, Vanchi for hands, a headgear made of bamboo and is known as Kali mudi (Kali hair) and a Sword. The narration of story is better expressed through the songs with Chenda & Maram ( Music Instruments of Kerala)

Kerala is a land where its cultural diversity is relieved by plentiful of traditional and ritual art forms.\nVayali 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”.\nDarika Vadham is a traditional Ritual art form performed by people belonging to Paraya Community. The performer has to follow strict diet restrictions for two weeks prior to the performance. Darika, a demon king, after being blessed by Lord Brahma has become very cruel to the people. And he has granted blessing from Brahma that, only a Woman can kill him. For killing Darika, Goddess Kali has been created by Lord Siva. And this art form depicts the fierce battle between Goddess Kali and Darika. Costumes for Darika Vadham comprises of Arayodam - a kind of hip chain, Chilambu for legs, Vanchi for hands, a headgear made of bamboo and is known as Kali mudi (Kali hair) and a Sword. The narration of story is better expressed through the songs with Chenda & Maram ( Music Instruments of Kerala)

Kerala is a land where its cultural diversity is relieved by plentiful of traditional and ritual art forms.\nVayali 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”.\nDarika Vadham is a traditional Ritual art form performed by people belonging to Paraya Community. The performer has to follow strict diet restrictions for two weeks prior to the performance. Darika, a demon king, after being blessed by Lord Brahma has become very cruel to the people. And he has granted blessing from Brahma that, only a Woman can kill him. For killing Darika, Goddess Kali has been created by Lord Siva. And this art form depicts the fierce battle between Goddess Kali and Darika. Costumes for Darika Vadham comprises of Arayodam - a kind of hip chain, Chilambu for legs, Vanchi for hands, a headgear made of bamboo and is known as Kali mudi (Kali hair) and a Sword. The narration of story is better expressed through the songs with Chenda & Maram ( Music Instruments of Kerala)

Kerala is a land where its cultural diversity is relieved by plentiful of traditional and ritual art forms.\nVayali 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”.\nDarika Vadham is a traditional Ritual art form performed by people belonging to Paraya Community. The performer has to follow strict diet restrictions for two weeks prior to the performance. Darika, a demon king, after being blessed by Lord Brahma has become very cruel to the people. And he has granted blessing from Brahma that, only a Woman can kill him. For killing Darika, Goddess Kali has been created by Lord Siva. And this art form depicts the fierce battle between Goddess Kali and Darika. Costumes for Darika Vadham comprises of Arayodam - a kind of hip chain, Chilambu for legs, Vanchi for hands, a headgear made of bamboo and is known as Kali mudi (Kali hair) and a Sword. The narration of story is better expressed through the songs with Chenda & Maram ( Music Instruments of Kerala)

Kerala is a land where its cultural diversity is relieved by plentiful of traditional and ritual art forms.\nVayali 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”.\nDarika Vadham is a traditional Ritual art form performed by people belonging to Paraya Community. The performer has to follow strict diet restrictions for two weeks prior to the performance. Darika, a demon king, after being blessed by Lord Brahma has become very cruel to the people. And he has granted blessing from Brahma that, only a Woman can kill him. For killing Darika, Goddess Kali has been created by Lord Siva. And this art form depicts the fierce battle between Goddess Kali and Darika. Costumes for Darika Vadham comprises of Arayodam - a kind of hip chain, Chilambu for legs, Vanchi for hands, a headgear made of bamboo and is known as Kali mudi (Kali hair) and a Sword. The narration of story is better expressed through the songs with Chenda & Maram ( Music Instruments of Kerala)

Kerala is a land where its cultural diversity is relieved by plentiful of traditional and ritual art forms.\nVayali 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”.\nDarika Vadham is a traditional Ritual art form performed by people belonging to Paraya Community. The performer has to follow strict diet restrictions for two weeks prior to the performance. Darika, a demon king, after being blessed by Lord Brahma has become very cruel to the people. And he has granted blessing from Brahma that, only a Woman can kill him. For killing Darika, Goddess Kali has been created by Lord Siva. And this art form depicts the fierce battle between Goddess Kali and Darika. Costumes for Darika Vadham comprises of Arayodam - a kind of hip chain, Chilambu for legs, Vanchi for hands, a headgear made of bamboo and is known as Kali mudi (Kali hair) and a Sword. The narration of story is better expressed through the songs with Chenda & Maram ( Music Instruments of Kerala)

Kerala is a land where its cultural diversity is relieved by plentiful of traditional and ritual art forms.\nVayali 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”.\nDarika Vadham is a traditional Ritual art form performed by people belonging to Paraya Community. The performer has to follow strict diet restrictions for two weeks prior to the performance. Darika, a demon king, after being blessed by Lord Brahma has become very cruel to the people. And he has granted blessing from Brahma that, only a Woman can kill him. For killing Darika, Goddess Kali has been created by Lord Siva. And this art form depicts the fierce battle between Goddess Kali and Darika. Costumes for Darika Vadham comprises of Arayodam - a kind of hip chain, Chilambu for legs, Vanchi for hands, a headgear made of bamboo and is known as Kali mudi (Kali hair) and a Sword. The narration of story is better expressed through the songs with Chenda & Maram ( Music Instruments of Kerala)

Kerala is a land where its cultural diversity is relieved by plentiful of traditional and ritual art forms.\nVayali 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”.\nDarika Vadham is a traditional Ritual art form performed by people belonging to Paraya Community. The performer has to follow strict diet restrictions for two weeks prior to the performance. Darika, a demon king, after being blessed by Lord Brahma has become very cruel to the people. And he has granted blessing from Brahma that, only a Woman can kill him. For killing Darika, Goddess Kali has been created by Lord Siva. And this art form depicts the fierce battle between Goddess Kali and Darika. Costumes for Darika Vadham comprises of Arayodam - a kind of hip chain, Chilambu for legs, Vanchi for hands, a headgear made of bamboo and is known as Kali mudi (Kali hair) and a Sword. The narration of story is better expressed through the songs with Chenda & Maram ( Music Instruments of Kerala)