The small sun-soaked village of Molela, located approximately fifteen to twenty kilometers from the city of Udaipur in Rajasthan, is home to a vibrant community of terracotta clay artists. Over the years, Molela has emerged as a focal point in the art of making attractive votive plaques or idols of gods, with terracotta. While the early creations were originally cast as standing idols of local deities and various forms of the Hindu god Vishnu, today these figures are often mounted on tiles or plaques and are hung from the walls of homes and temples. These votive figurines can be multicolored or can have a terracotta hue, as is represented in the various temples in Rajasthan and Gujarat.

Folkland, International Centre for Folklore and Culture is an institution that was first registered on December 20, 1989 under the Societies Registration Act of 1860, vide No. 406/89. Over the last 16 years, it has passed through various stages of growth, especially in the fields of performance, production, documentation, and research, besides the preservation of folk art and culture.Since its inception in 1989, Folkland has passed through various phases of growth into a cultural organization with a global presence. As stated above, Folkland has delved deep into the fields of stage performance, production, documentation, and research, besides the preservation of folk art and culture. It has strived hard and treads the untrodden path with a clear motto of preservation and inculcation of old folk and cultural values in our society. Folkland has a veritable collection of folk songs, folk art forms, riddles, fables, myths, etc. that are on the verge of extinction. This collection has been recorded and archived well for scholastic endeavors and posterity. As such, Folkland defines itself as follows

This paper intends to describe the role and function of Shaman in Myanmar society. The background history of Shaman, the role and function of Shaman, Natkadaw in Myanmar society, and the current situations of Shaman living in Yangon, are elicited. Especially, what are the essential or key factors to become a Shaman in Myanmar, why Myanmar people believe in Nats (spirits), how they offer to the Nats, when they offer to the Nats, what are necessary, who is essential for this ritual or ceremony and how the Shaman maintains and transmits his or her super power from generation to generation are discussed. Descriptive or exploratory and oral history methods are used as the research designs. Secondary analysis, key informant interview are conducted for data collection. As the result outcomes, why Shaman is important to safeguard as Myanmar intangible cultural heritage, why and how the government safeguard the Shaman officially are explored.

Folkland, International Centre for Folklore and Culture is an institution that was first registered on December 20, 1989 under the Societies Registration Act of 1860, vide No. 406/89. Over the last 16 years, it has passed through various stages of growth, especially in the fields of performance, production, documentation, and research, besides the preservation of folk art and culture.

The intangible cultural heritage is without borders but it has owner and sovereignty because the heritage is associated with people, their residence, and practice (Le Thi Minh Ly 2020). Hence, Émile Durkheim (1912), a French social anthropologist, in his famous book of the Australian tribal religious life, convincingly argued that the study of festive events was an essential element to understand people’s social life. He wasprobably the first scholar to conceptualize festivals as central social events in the life of “primitive societies”. Cau ngu festival recreates the traditional cultural space of a coastal fishing village, customs as well as traditional rituals, games and knowledge of the fishermen. In addition, the festival expresses people’s aspiration of an age-old philosophy of living in harmony with the sea, maritime spiritual beliefs and cultural nuances to be preserved and promoted in our life.

The art of lacquer painting of Uzbekistan has deep traditional roots. Lacquer had been used in Samarkand since the Temurids epoch (fourteenth to fifteenth centuries). These facts can be testified by miraculously preserved original ornamental medallions from papier-mâché in the interiors of Mosque Bibi-Khanim. Particular interest represents carved doors and completely restored golden-blue dome, at the interior of the main building of Gur-Emir, consisting of 998 papier-mâché elements (tosh qog’oz in Uzbek).

Textile printing is the process of printing flowers, ornaments on cotton or silk fabric (chitgarlik) by hand using carved wooden stamps. This applied art has existed in Central Asia since ancient times and stems from the region’s cultural and commercial interaction. The art of textile block printing traveled along the Silk Road and flourished in the villages and towns of Central Asia.

Human has made great progress beyond the speed of biological evolution by using tools. First, human used stones and wood as tools for hunting and gathering, and then invented earth-baked earthenware such as bowls for food, appropriate to farming life. The defects of woodenware and earthenware, however, were obvious. It was not able to contain liquid due to their moisture absorbency, and easily damaged. Earthenware has evolved into glazed ceramic but it required a high-tech kiln with high temperature, accompanied by a technology for metal refining as a key prerequisite. In East Asia, moisture proof and insect proof techniques to coat objects were invented much earlier. That is lacquer technique.\nProduction process of lacquer is delicate and complicated such as handling lacquer sap at the risk of skin disease, creating hot and humid environment for hardening process, etc. Nevertheless, in East Asia, people have used lacquer technique in many regions from the Neolithic Age, knowing its merits earlier on. Lacquer was used for adhesive and surface protection of leather, earthenware, ceramics and metalware. In particular, it has been inextricably linked to wooden objects. Whereas in West Asia and Europe various varnishes mixed with dry oil and resin has been used, in East Asia lacquer was used as a basic varnish in common. That shows that lacquer is great material and technique to represent the commonality of Asian culture.1) This article aims to briefly look into the origin of lacquer technique in Northeast Asia and share the information on it and its current status of transmission.

"While the artistic heritage of the Pacific is no doubt rich and representative of its cultures, it is more than merely something to be gazed upon and admired. Rather, Pacific art is both functional and symbolic of deeper meanings. Items as commonplace as bows and arrows, masks, and meeting halls are tangible expressions of the spirit of a culture. The themes in the final section seek to represent this spirit. In examining the Tongan kupesi traditions, for example, we see how the symbolism contained within the art, beyond its outer function, is reflective of the indirect nature of Tongan culture and somewhat akin to the practice of using heliaki in speaking. Likewise, in learning the complex process of building Palauan bai meeting houses, we can see that the structures stand not only as important functional spaces but also as carriers of cultural motifs and legends passed down over time. \nAll these themes attest to the art and technology of the Pacific societies as not only reflecting aesthetics but also serving a function. Traditional technological know-how allows the Pacific islanders to use available resources to their best advantage. Architectural designs, motifs, lashings, knots, stone walls, and pavement ensure that structures withstand the test of time while also carrying vital symbolic knowledge."

This research discussed the intangible aspect such as philosophy and local insight that lies in the traditional house of Joglo Pencu Kudus from Indonesia and Hanok from Korea. Based on the result of research found that both traditional houses have the philosophy to respect nature and can adapt to the environment around them. Hanok can adapt to two extreme seasons (harsh winter and humid-hot summer) while Joglo Pencu Kudus can adapt to two seasons (rainy and dry). \nMoreover, the materials used in both traditional houses are natural and originate from the environment. Some constructions support sustainable development and it can be developed or combined further with the recent necessity. Some of its constructions can deal with the earthquake and heavy storm. Even some local insights can be applied directly such as natural waterproof from Hanok and natural substance for the preservation of wooden houses from Joglo Pencu Kudus.

The evolution of industrialization process and globalization has endangering traditional textile which put in place intangible culture heritage (ICH) of weaving tradition dramatically decrease over years. Rapid of changing process has impact on change of people lifestyles and resulted traditional practice of handcraft lose slowly. In order to safeguard local knowledge, government played significant role on develop ICH policy and its legal framework implementation associate with international standard.

Intangible cultural heritage (ICH) provides a continuous link between the past, present and future. Every country flourishes with distinct ICH elements which needed to be safeguarded and transmitted from one generation to another. Weaving is one of the ICH elements that has thrived and intertwined knowledge systems, creativities, customs and belief systems of different cultures around the world. Communities identify their cultures through their traditional costumes which were handwoven using ancient weaving techniques.