Thundukunaa or traditional mat is popularly presented as a royal gift in the ancient times. Traditionally produced by women, the practice of making Maldivian traditional mat is handed down from generation to generation—mostly from mother to daughter. The women of Gaafu Dhaalu Gahdhoo are perhaps the most skilled producers of this prominent symbol of Maldivian craftsmanship. The mats are hand-woven on a loom from reeds which are dried in the sun and stained with natural dyes of different colors. Thundukunaa is created with beautiful, elaborate, and ornate designs. Quite functional in nature, traditionally used for sleeping, seating or praying, thundukunaa is still presented as a memorabilia to visiting foreign dignitaries.\n\nGaafu Dhaalu Fiyoaree harbors the marshland where premium quality reed or hau grows which is used for making thundukunaa. The marshland is of significant importance to the island for its resilience in terms of controlling flooding from heavy downpours and sea surges. The raw material for the Maldivian traditional mat is a specific kind of reed found in Fiyoaree, which can last for hundreds of years. It is also the only island out of the 1,190 islands across the Maldives, where premium quality reeds preferred by the mat weaving community are found. The site is of national significance in both ecological and cultural aspects. Therefore, establishing a business model for reed is of crucial importance for conservation of the area.\n\nThrough successfully receiving the small grant scheme from the Global Environment Facility (GEF) and the Mangroves for the Future (MFF) facilitated through United Nations Development Program (UNDP), the Maldives Authentic Crafts Cooperative Society (MACCS) has not only been able to revive traditional livelihoods (reed cultivation and mat weaving), but has also empowered a number of women and enhanced their general well-being. MACCS is still continuing to revive the tradition by organizing a number of mat weaving workshops across the Maldives. The organization has also released a folk story on the Fiyoaree reeds, raising awareness of the source of thundukunaa. The last workshop held in Fuvahmulah to teach the tradition of mat weaving concluded on 10 October 2017.\n\nPhoto : Thundukunaa from a festival held by MACCS and Velassaru Maldives to support local artisans © Velassaru Maldives

Ghiasuddin Pir & Meeza Ubaid introduces the activities of THAAP, the only UNESCO accredited NGO under the Convention 2003 from Pakistan, initiated the process of community-based inventorying (CBI) of Intangible Cultural Heritage (ICH) among the Kalasha community. THAAP, in collaboration with UNESCO, funded by the Embassy of Switzerland, has worked towards inclusive documentation processes of forty-five intangible cultural heritage from the five listed ICH domains. Furthermore, THAAP endeavored at cultural education activities in Kalasha.

The mask—a mystery in itself and a disguise that gets many names and forms along with the circumstances, context, beliefs, values and practices that always carry a story to be told. Nepal stands as one of the culturally rich nations with more than 365 different festivals celebrated annually, many of which have mask dance performances representing a specific religious deity. Ga: Pyakhaan or Asthamatrika Naach is one of many mask dances performed annually in the city of Patan, Nepal. The word astha means eight; matrika means mother goddess and naach means dance, thus, literally implying “dance of eight motherly goddesses.” This dance is performed during the Dashain festival from Ghathasthapana to Vijaya Dashami (first to last day of the Dashain festival) in the royal courtyard of Mul-chowk inside Patan Durbar. It is believed that these eight tutelary deities help in protecting the city from eight specific fears: threat from outsiders (historically from other states and kingdoms), wind, water, fire, natural disasters, enemies, thieves, and evil spirits. Thus, it is an annual ritual performed for wellbeing, peace and prosperity of county and citizens to protect them from unforeseen fears that might be faced in days to come.

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.

Harmony, social cohesion, integrity, peace and tranquility and unity are; all outcome of good social networking system with core human value. And negative impacts are also inevitable if it is the organization’s aim and objective. But, information-sharing is the fundamental prerequisite for the aforementioned subject as it is a key ingredient for organizations seeking to remain competitive and dynamic. Ever since the human beings had entered the threshold of civilization, the tradition of networking had evolved simultaneously. The historical records explicitly exhibit unbelievable information of both tangible and intangible records. For example; tangible cultural heritage– the figures of the Seven Wonders of the World and the intangible accounts- the imperial figures, legends and myths living even today are the outcome of social networking system. Had there been no networking system, there may not be anything recorded at present but, unless someone has extraordinary capabilities or god-like strength and power.

The practice of Bon traditions was widespread in Bhutan long before the arrival of Buddhism, and it retains influence in Tshapey village. Previously people practiced animal sacrifice and had faith in nature. With the advent of Buddhism in the country, many elements of Bon dissipated even as Bon rituals continued. Taking on a fusion of Buddhism and aspects of Bon, this became known as Bo-kar, white Bon. This especially allowed Bon rituals to be performed without sacrificing human lives. \n\nDen-zha, a local festival in the village of Tshapey, is one of many such Bo-kar practices. This festival is about appeasing Ke-lha the deity of birth, or the local deity known as Nyep Dangnap, who is commonly worshipped as the protector of the Tshapey community. The deity's dark appearance is said to have given her the name Dang-nap, which is further exemplified by the deity's black mask that can be seen in the Lhakhang, temple, today. \n\nThe Lhakhang, locally known as Haa Goenpa, or monastery. It is believed that the Goenpa was built on the spot where a dove miraculously landed. The dove is considered to be the Nob Denshap, heart emanation, of the Jowo image of Buddha Shakyamuni of Lhasa, Tibet. It is located about seven kilometers from the road. The most important Nangten, or relic, at the Lhakhang is a large statue of the Jowo Shakyamuni. It is said that any wishes or prayers made before the Jowo will come true. In earlier times, the Tshapey community took care of the Lhakhang, but in 1998 it was given to the Zhung Dratshang Central Monastic Body. It was severely damaged by an earthquake and renovated in 1992. Currently, eight people live in and around the Lhakhang - five Tshampa meditators, one Kunyer caretaker, and one Lopen or Lam the spiritual master. \n\nOn this occasion, the members of the Tshapey community, including those who have moved away to other places, gather at the village Lhakhang to make Nyen-dhar monetary offerings. If they cannot come, they must come and make Shag-pa confession immediately after the festival period.