Navruz (Nowruz) is not just about the first day of spring, but it is also not just a celebration of the New Year marked by indulging in a feast; it has a much wider historical and cultural context with deep doctrinal significance.

In the Federated States of Micronesia, UNESCO’s ICH program is off to a great start in Yap—the state chosen to be the first in the FSM to embrace the opportunity. We recently hosted our first UNESCO ICH workshop, which was well attended and promoted throughout the state. And it is evident that outside recognition of the value of Yapese ICH has energized local interest in talking about cultural heritage as an asset worthy of protection. From the beginning, it has been highlighted that the management of Yapese ICH must be a collective effort—with UNESCO and other outside facilitators such as me only being here to provide technical and material support when necessary.

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.

The Azerbaijani Carpet Makers Union (ACMU), founded in January 2010, is a voluntary self-governmental public association of citizens rallied to support Azerbaijani carpet weaving.The ACMU seeks to promote a revival of the powerful spiritual heritage of carpets, the national traditions of the Azerbaijani people, a consolidation of the creative potential of seen figures of society and culture, support for talented children and youth, and creative carpet dynasties. The purpose of the ACMU is also to convey objective information about the unique national culture, rich historical heritage, and diversity of the carpet art of Azerbaijan to the international community.

The punnuk is a tugging ritual of the village folk from three communities in Hungduan, Ifugao in Northern Luzon, Philippines. It is performed at the confluence of Hapao River and a tributary as the final ritual after the rice harvest. Its consummation brings to a close an agricultural cycle and signals the beginning of a new one. \n\nThe punnuk is a ritual of pomp and revelry. Garbed in their predominantly red-col-ored attire of the Tuwali ethno-linguistic subgroup, the participants negotiate the terraced fields in a single file amidst lush greens under the blue skies. The tempo builds up as the participants reach the riverbank, each group positioned opposite the other. The excitement is sustained through the final tugging match, and the sinewy brawn of the participants is highlighted by the river’s rushing water.

The Loden Foundation is a pioneer organization in Bhutan bridging cultural heritage with socio-economic development. Loden literally means ‘the intelligent one’ and is an epithet of the Bodhisattvas, who work for the world using wisdom and compassion. Loden first started as a modest child sponsorship scheme in 1999 to help poor students go to school. Since then, it grew incrementally to become a leading NGO in Bhutan. Led by a group of people with shared visions, concerns and interests, Loden has three programs supported by a wide network of donors, volunteers, management team and partners.

Intangible cultural heritage presents an important form of living cultural heritage. It covers fundamental, yet extremely vulnerable aspects of living culture and tradition embodied in the spiritual life, traditional knowledge, skills, and practices of communities. It presents one of the most vivid and colourful forms in which the world’s cultural diversity is expressed and preserved.

Moderator to Helena Norberg-Hodge: You have emphasized a new order and a way of life and the need to promote localization to escape from globalization and cultural uniformity. In my opinion, this localization can be carried out more easily in the post-CORONA era; what do you think? And this is the second question, in the post-CORONA era, is there a need to change the direction or strategy of the localization movement? If so, what would it be? People nowadays talk about new normal, so please also tell us about the post-CORONA era localization.

Traditional games over the centuries have played an important role in the formation and development of personality. They are considered an effective method of bringing up children or transmitting values and culture to the young. Games provide children with opportunities to overcome difficulties, gain life skills, and prepare themselves for the future. They are vehicles for teaching ideas of freedom, independence, and love for country. Moreover, games help to develop their physical and cognitive skills of children, enrich their consciousness, stir their imagination, enliven their memory, and develop their professional skills for the future.

The Kazakh National University of the Arts the Research Institute, named after Korkyt Ata (KazNUA), was established to achieve the lofty goals in science and education development. The main objective of the institute is to study and promote traditional Kazakh art. Investigations into the spiritual heritage of the Kazakh people are conducted in folklore, literature, culture, and art. Since the institute’s main objective is to study the national culture, the employees search for artifacts and collect information related to folk art, in Kazakhstan and other countries.

The Kazakh oral tradition is closely associated with the culture and lifestyle of nomadic civilisation. One of the main branches of the Great Silk Road is known to have led across Central Asia and Kazakhstan. The instrumental and oral traditions of numerous nomadic and settled nations were developing along the Great Silk Road in close interethnic contacts. In particular, many scientists and researchers note that different cultures and ethnic groups have common variations of tamboura-like instruments with silk strings and dulcimer-like instruments and traditional guttural singing.

This presentation basically focuses on two themes: (1) the meaning of loss and risk in the context of cultural dynamics and (2) the possible articulation between cultural safeguarding and social development projects. I argue that the loss or abandonment of ICH elements by cultural communities does not simply point out at the impoverishment of cultural repertories, but often makes manifest social conflicts and changes which may sometimes be desired by some social agents, yet seen as undesirable by others within the same social formation. Furthermore, I believe that the safeguarding of ICH, particularly endangered social practices and traditional knowledge, can be a crucial component of social development programmes, above all in relation to education, in raising family income, as well as in strengthening senses of identity and selfesteem of minority groups.