Mataginifale Women’s Group (MWG) was established in Avatele in the 1980s. Originally named Avatele Women’s Group, its members decided to change its name in the 1990s to better reflect the unique status of women. Mataginifale was a female warrior from Avatele born around 700 CE and was a great weaver that created local tapa cloth called hiapo.

"Comprising more than 17,500 islands, 1,300 ethnici- ties, and over 500 vernacular languages, Indonesia is blessed with an incredibly diverse heritage, both nat- ural and cultural, tangible and intangible. However, this also poses a tremendous challenge, particularly when it comes to safeguarding and conserving such a colorful collection of heritage. Badan Pelestarian Pusaka Indonesia (BPPI, the Indonesian Heritage Trust) was founded to answer the challenges of safeguarding Indonesia’s diverse heritage. It is a nonprofit organization comprised of heritage practitioners and advocates who share the common goal of safeguarding the sustainability of Indonesia’s natural, cultural, as well as landscape."

Nowadays, tug-of-war has become a popular traditional game and loved by many communities in Vietnam. Both children and adults love playing this game since it doesn’t require many particular skills or training and doesn’t limit the number of participants. Tug-of-war today is played in dif-ferent cultural and social events in youth camps, student gatherings, and traditional festivals as well as during Tet Lunar New Year celebration in Vietnam. In a traditional tug-of-war game, players are divided into two teams and stand opposite along a string (normally a bamboo cord or a jute rope). A red piece of cloth marks the middle of the cord, which is positioned parallel to a line drawn on the ground that separates the two teams. After a signal (either a whistle or a hand signal) from the referee, players tug the cord as hard as possible to pull the red cloth towards their side. For every match, both teams receive great cheer from surrounding spectators.

Mandalay, Myanmar’s second largest city and the last stronghold of the ancient Burmese kings, has been considered the country’s cradle of traditional arts and crafts. Shwe chi hto or golden embroidery has been one of the most famous crafts in Mandalay especially during the monarchy period when gold and silver tapestries adorned the kings, queens, ministers, and all the members of the higher class in society.

Traditional crafts have long been a part of the traditional nomadic culture of the Kyrgyz people, who have historically lived in close connection with nature. For the Kyrgyz people, the natural world was once seen as an inexhaustible source of raw materials and inspiration for the creation of handicrafts.

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.

Intangible cultural heritage is one of training contents at university level for students who are majored in Cultural Heritage Management, led by Cultural Heritage Management Faculty, Ho Chi Minh University of Culture. Besides conspectus knowledge, basic knowledge of the major, students also access to specialized modules such as: Identifying the values of intangible cultural heritage, research methodology in investigating intangible cultural heritage, Inventory of intangible cultural heritage, forms of intangible cultural heritage… \n\nOne important learning method of these major modules is experiment, field work and access to public through activities: \n\n+ Observational thinking: learning through observation of activities executed by the others or self - experienced, thinking and concluding the understanding from experiences; \n+ Conceptualization: learning through establishing concepts, synthesize, justify, and analyze what we have observed; \n+ Practical experience: learning through activities, behaviors, specific and hand-on acts, \n+ Experiment: learning through experiments, propose solutions for issues and make decision. \n\nLearning - through - experiment methodology is put on specific learning contexts. In this paper, we want to mention to the role of the Museum – as an effective learning context, a buffering step from theory to practice to access the public. This learning context is analyzised based on the exhibition of traditional crafts at Ho Chi Minh city Museum, and based on contextual models of learning proposed by two proffesssors of Oregon University: John Howard Falk and Lynn Diane Dierking.

Abstract: In this paper, the author discusses a diversity-focused approach to musical instruments, using Japanese traditional instruments as an example. In Japan, there are safeguarding systems in place to protect not only the performing arts and its performers, but also the techniques used for making musical instruments, instrument makers. . Simultaneously, there are many musical instruments of the same historical origin throughout Asia. Approaching the musical instruments in a new framework – one which includes the performers and instrument makers – adds new perspectives such as the natural environment, traditional knowledge, and methods for accommodating the conditions specified for each era. If we apply this perspective to Asian musical instruments, we may be able to discover new stories of diversity that connect musical instruments.

The tradition of jewelry making in India began with the prehistoric factories of the Harappan civilization which produced metal and bead jewelry and has continued unbroken over five thousand years in the continuity of its form, technique, and symbolism. Some of the earliest excavations of bead and stone factories have uncovered evidence of sophisticated tools like burins, scrapers, cylindrical drills, and micro-drills used to drill holes in beads and etch designs on precious and semiprecious stones. These beads, along with sheet gold and gold wire twisted into intricate earrings, necklaces, bangles, waistbands, and more, represent the humble beginnings of the Indian jewelry tradition. Jewelry has since been used to demonstrate affection, status, power, and skill.

The painting industry and paint products in Vietnam have a long tradition. The first vestiges of paint materials were unearthed hundreds of years before the Christian era. Since ancient times, plastic latex was extracted from bark for its stickiness, durability, and resistance to rain, sunshine, salt water, and high humidity. Therefore, Vietnamese people used it to plaster boats and paint on wooden furniture, rattan, and bamboo to increase aestheticism and durability. Previously, the Nguyen lords took plastic resin from forests in Quang Tri in Quang Ngai Province or Nam Dong district of Thua Thien Hue and later mainly from Phu Tho and Yen Bai provinces.

Papua New Guinea is one of the most culturally diverse countries in the world, with over 750 languages representing 750 ethnic groups. Papua New Guinea is made up of 24 provincial governments, and the nation is divided into four regions known as Momase, the Highlands, New Guinea Islands, and the Southern Region.

The festival of Diwali in India is celebrated by different communities in different ways, performing different rituals. It is a festival of lights celebrated by Hindus, Jains, and Sikhs, and usually lasts for five days.\nThe Sindhi community in India celebrates Diwali for just three days. One of the distinctive features of their celebration is the worshipping of a haatdi. Haatdi is also worshipped by a few Gujarati communities.\n“Haatdi” comes from the word haat and symbolizes a shop. People worship it mainly to invoke the blessings of Lakshmi (the goddess of abundance and auspiciousness) for work or business, praying for their business to prosper. A haatdi is a colorful representation of a shop. There are some who believe it used to represent the male members of the family who were the breadwinners. The number of haatdis bought was equal to the number of male members in the family, with one being for the female child. Nowadays they are usually bought in pairs of two, four, six. After Diwali, the haatdi is immersed in water.\nThe making of clay haatdi begins on the day of Ganesh Chaturthi, which is regarded as auspicious and usually falls in August or September. The people of a particular community in Ahmedabad are involved in the making of haatdis, with the whole family taking part. They even travel out of Gujarat to states like Maharashtra to make and sell their wares. Haatdis are made and sold until Kaali Chaudas (the second day of the five-day festival of Diwali).\nA demonstration of the process of making a haatdi was given by Mr. Chaturbhai, Mr. Varshrambhai, Mr. Bharatbhai, and their families at their place in the lane opposite APS International School in Ahmedabad. Even I enjoyed trying my hand at making a haatdi during this experience organized by India Heritage Walks and led by Mr. Keyur Shah.