In 1992, the Philippines passed Republic Act 7355, which established the Manlilikha ng Bayan program to recognize national living treasures in the field of traditional and folk arts.

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.

In Turkey, it is mostly traditional female cooks who prepare wedding dishes in most villages, although their numbers have declined. Traditional female cooks have almost always been at the center of my culinary eld research. I carried out an important part of this research in the villages and small towns of the Aegean (Izmir, Aydın, Manisa), Mediterranean (Adana), Marmara (Balıkesir, Çanakkale), and Central Anatolia (Çorum) regions between 1998 and 2018. e data I obtained by interviewing and observing techniques in groups that describe themselves as immigrants, natives, Alawis, Yoruks, or Turkomans in these settlements showed that traditional female cooks who prepare ceremonial dishes, especially for weddings, have some common equipment and knowledge. is equipment included the ability to control the material, cooking and presentation techniques of ceremonial food and to transfer the traditional knowledge, skills, and experience of food to future generations.

Puppetry practices in Korea have been handed down in diverse contexts and various genres, from maeulgut (village ritual) and mudang gut (shaman’s ritual) which are ceremonial rituals of worshipping transcendental beings, to mask dances which were developed primarily for entertainment purposes. Various traditional puppetry plays have been developed as independent genres in these practices of puppetry in Korea. Moreover, the mainstream category known as kkokdu gaksi noreum as well as seosan parkcheomji nori and baltal (mask plays performed with the soles of one’s feet) have also been transmitted. Seosan Parkcheomji nori is a puppetry play of native clowns, which has been shaped by the influence of kkokdu gaksi noreum, while baltal is a mask play in which a puppet and a man measure their wits. As it appears, kkokdu gaksi noreum inspired other types of puppetry as it has been acclaimed as a representative example of Korean traditional puppetry.

Throughout their history, the Kyrgyz people have lived nomadically, which then determined the direction of their cultural and spiritual life. This idea comes to life quite easily when examining the intricacies of Kyrgyz folk art and epic poetry, in particular. The main core of Kyrgyz epic poetry is Manas.

Of the fifty-four ethnic groups in Vietnam, the Kinh (also known as the Viet) people account for 85 percent of the entire population of Vietnam while the remaining 15 percent of the population is made up of the other fifty-three minorities. Within the group of minorities are the Nung people who have a population of around one million and reside in the northern mountainous provinces on the border with China.

The epic Manas occupies a central place in the spiritual culture of the Kyrgyz people as a consolidating factor of the ethnos and basis for self-identity. The significance of the epic in the treasury of human heritage was recognised by the world community in 1995. The resolution ‘On celebration of the 1000th anniversary of the Kyrgyz National Epos Manas was adopted at the 49th session of the UN General Assembly carried out by UNESCO and UNDP. The 1000th anniversary of the epic ‘Manas’ was celebrated on the international level with the participation of more than 60 countries. A number of exhibitions, festivals, and conferences dedicated to the epic ‘Manas’ were held in Turkey, China, USA, Russia, Kazakhstan, Uzbekistan, Belarus and other countries. The inclusion of Manas on the Representative List of the Intangible Cultural Heritage of Humanity in 2013 was the next important step in the recognition of the Epos as World Heritage.

During the first pilot project implementation on inventorying intangible cultural heritage in Uganda from 2014, Gulu Theatre Artists have been investigating a number of traditional foods within the Pageya Chiefdom to get an overview over the rich food tradition in this area.

1.0 SNAPSHOT OF FIJI \n\n1.1 The Fiji islands has a population of about 900,000 spread out over 100 islands, administered in 14 provinces or prefectures by an indigenous administration system and into four major divisions administered by Government. The 14 provinces fit into the 4 major divisions of Northern, Central, Eastern and Western. Approximately 51 % of the population are the ethnic iTaukei indigenous population, 49% are those of Indian descent and the Chinese and other Pacific islanders. Major languages spoken are English, iTaukei Fijian and Hindi.

Since Korea has undergone the fierce contemporary history through the Japanese colonial era and the Korean War, the Korean government enacted the Cultural Heritage Protection Act in 1962 for safeguarding and transmitting Korean cultural heritage. In this act, the term intangible cultural heritage (ICH) was officially coined as a legal concept, and provisions were prepared to designate and safeguard ICH at the national level. Thus, the Korean legal system for safeguarding ICH was established forty years before the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003).

The two outcome objectives of the Tonga Strategic Development Framework 2011-2014 related to our mandate are to:\n\n〮 Strengthen inclusivity communities by engaging disctricts and villages/communities in meeting their prioritized serveice needs and ensuring equitable distribution of development benefits.\n〮 Increase cultural awareness, environmental sustainability, disaster risk management, and climate change adaptation by integrating these ideas into all planning and implemtation of programmes, by establishing and adhering to the appropritate procedures and implementation of programmes, and by establishing and adhering to the appropriate procedures and consultation mechanisms.

The Republic of Palau became a member of the Convention for the Safeguarding of the Intangible Cultural Heritage in November 2011. As a new member, Palau has begun assessing the current status of nation’s intangible cultural heritage in comparison to the Convention criteria for nominations to any of the UNESCO ICH lists.