In 2013, the UNESCO Office in Bangkok, in collaboration with the Islamabad, Hanoi, Apia, and Tashkent offices, undertook a project to experiment how intangible cultural heritage (ICH) could be used as part of a pedagogical approach to raise awareness about sustainable development. Activities, implemented thanks to the generous support of the Japanese government, were framed around the themes of the Decade of Education for Sustainable Development (2005-2014). The pilot project produced guidelines and sample lesson plans for teachers to guide them into developing educational materials grounded in local knowledge and practices. Seventeen schools in four countries—Pakistan, Palau, Uzbekistan, and Vietnam— participated in the pilot. The emphasis was not on teaching pure cultural content, but rather on using ICH as a vehicle to enrich the teaching of existing school subjects.

Relative to the creative economy of South Korea, the importance of the Eurasian Turkic states is growing. The reorganized resource-rich countries of the Eurasian continent, ancient nations belonging to the Silk Road, have established themselves from the beginning of the 21st century as political and economic powers in the international arena. CIS countries such as Turkmenistan, Uzbekistan, Kazakhstan, Kyrgyzstan, and Tajikistan were protagonists of the great Silk Road that linked the East and the West that had been cut off from each other in ancient times.

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.

Pebaek was one of the important ritual procedures of a traditional wedding ceremony. The ritual was performed at the groom’s house after the bride finished the wedding ceremony at her house. Pebaek was to introduce herself properly to her new in-laws and, her rst greetings were to the inlaw parents and relatives.

The food we eat is an important part of culture. It is also an expression of community identity. As American folklorist Millie Rahn writes, The kitchen, historically, is the place where families gather and where the everyday and the ceremonial meet and overlap. Here families interact and share private traditions, expressing identity through their food to each other and to the world. Creativity is alive in this space, from daily mealtimes to more elaborate feasts that mark rites of passage, religious and secular holidays, and other special events. This is where knowledge is passed on, from traditional ways of preparing and using various ingredients, implements, tools, and techniques to legends, stories, anecdotes, and cultural exchanges that have become part of familial and regional folklife. We all eat, and associate different layers of cultural meaning to the food we consume. Explorations of food, then, can be an easy conduit into the complex world of intangible cultural heritage. This article gives several examples from the safeguarding initiatives of the Heritage Foundation of Newfoundland and Labrador that have used foodways as a means to get people thinking about, and engaged with, concepts of cultural transmission and heritage conservation.

Tugging rituals and games can be found all around the world, constitut-ing a panhuman cultural phenomenon. Especially in Asia, tugging rituals and games are related to rice farming, with most instances located within the farming cultures of Northeast and Southeast Asia. The practice of tug-ging rituals and games is universal and widespread, held to pray for rain or a good harvest or to foretell whether the year’s harvest will be good or bad. While many sim-ilarities exist among each tugging event based on the climate or environment, there is also a distinctness, individuality, and creativity specific to each region, making tugging rituals and games worth preserving as a common element of the intangible cultural heritage of AsiaDue to rapid urbanization and industrialization, however, today the tugging rituals and games of each country are in danger of their transmission being suspended, and there is even a lack of awareness of how important it is to safeguard tugging rituals and games as a part of intangible cultural heritage that is closely linked with agri-cultural rituals. In addition, while there have been previous case studies on tugging rituals and games of Asia, they are mostly limited to specific regions or rarely provide in-depth research, making it difficult to consider the connections between each region.

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.

"Fiji perceives the 2003 Convention as an important tool to enhance the national pursuit to protect, promote, and revitalise traditional knowledge systems and intangible cultural heritage (ICH) of not only the indigenous iTaukei but also the many other ethnic groups that have made Fiji their home. It is these migratory ethnic cultures that are creating a challenge to the survival the indigenous culture, but at the same time, they are also a blessing in disguise because the influx of different cultures creates a multi-ethnic cultural society, one that is open to dialogue, national identity, and greater understanding, which then promotes pluralism in creativity and innovation. \nHowever, one of the most promising features of migratory cultures is that their dancers, spoken language, and forms of worship have to some extent become accustomed to the new environment that has engulfed their new social structure. And this is the most fascinating thing about ICH—it is evolving, so it is a form of living heritage. The migratory groups whilst practicing their heritage have also adopted elements of the local culture. The same also applies to the indigenous culture, which has adopted aspects of the migratory culture over time. For example, garlanding (veivakasalusalutaki) during traditional welcoming ceremonies and other events was not originally a part of iTaukei ICH, but through time, it has been adopted from other Pacific Island cultures, such as the Rotuman, Indo-Fijian, and Chinese cultures. So we are continually faced with questions and challenges as to that which the community perceives as their true ICH and that which is borrowed, and in respect of those that are a blend of both, where do they fit? Or to whom does it belong? What if the community collectively feels that it is not their own, what do we do? Do we still enter this into our national inventories? The contemporary ICH (art)—how are we to embrace it? These are issues we hope to explore further in the "

Wrestling is an intense struggle between two people based on strength, endurance, and patience. In addition to power and physical capacity, this contest also requires mental strength and control of the body with the mind. Wrestling has some characteristics that reflect people’s physical struggle with nature under various circumstances. As a consequence of these two complementary aspects, this activity has long been part of relations, competitions, and some kinds of claims of superiority among human beings. Wrestling, for all these reasons, is one of the oldest sports in the history of humanity. At the same time, this means that rich traditions, rituals, and practices have formed and evolved around wrestling in different parts of the world. Therefore, it is possible to say that this sport, in a way, represents one of the aspects of the cultural accumulation of humanity, the knowledge, practices, and rituals transmitted from one generation to the next. This fact also leads us to think of the regional, national, and local forms of wrestling that may be regarded in the context of diversity of cultural expressions. Within this perspective and the focus of this paper, traditional oil wrestling embodies a living heritage with various cultural characteristics. It might be helpful to provide some information on the history and main elements of traditional oil wrestling before elaborating upon its value from the perspective of intangible cultural heritage (ICH) identity, transmission, and safeguarding efforts.\nTraditional oil wrestling is performed on a grass field by wrestlers called who are doused in olive oil and wear a type of hand-stitched, tight-fitting, knee-covering leather pants called . The roots of the relation between Turks and wrestling may be traced back long before its presence in Anatolia and the Republic of Turkey, to Central Asia in

Dibya Jyoti Borah, President of ARHI introduces the role of ARHI in safeguarding of ICH. Established in 2008, ARHI is collaboration of individuals belonging to the indigenous tribe, activist working for the cultural-educational rights of native people. It is a wider platform for all indigenous communities to discuss and reflect upon challenges and problems faced by indigenous communities as well as finding the best means to address those concerns. It is a grassroots organization comprising all small & big indigenous communities.

The South-Western Alps, across Italy and France are an area of long-lasting and significantly dense presence of diverse intangible cultural heritage expressions, resulting from the peculiar forms of relation and adaptation between the communities and the mountain ecosystems. But now, this area faced a number of challenges, Alessio Re & Giulia Avanza introduced the projects for building up resilience on the South-Western Alps territory.

Hills resembling a dragon tail, composed of arenaceous soft mud stretching for several miles, scarce but fresh and lush vegetation, springs with ice-cold water spouting from the heart of the earth, waves of the salty lake gently crashing against the shore, magnificent white clouds soaring up in the sky and the numerous pilgrims, lined up one by one, treading right upon the “dragon tail” and making their pilgrimage through the sacred site Manjyly-Ata.