The creation of life on Earth begins with mystery. In pursuit of understanding mysterious things, humankind gained one of their most valuable qualities—veneration of sacred. Understanding the link between mystery and sacred has existed since the dawn of humanity. The first lightning in the sky and thunder, sunrise and moonrise, and heat and coldness—all these were once mysteries that people worshiped as to unknown and sacred. The first forms of worship were to water, sky, and wind—early formations of sacred spaces. Therefore, knowing who designates this or that object is sacred or what the criteria is not possible because no one knows all the mysteries of creation. Objects or artifacts that people qualify as sacred spaces are those that remind us that we are not alone in the universe.

The 2018 inscriptions of intangible cultural heritage (ICH) on the UNESCO lists has raised again global attention to variations of Hindi-influenced masked dance in Southeast Asia, which retell the story of Rama, the god-reincarnated king who defeats the demon king Ravana.

This paper begins by reviewing the current implementation of the 2003 Convention at the international level, notably its ratification status and the inscriptions on its two lists—the Urgent Safeguarding List and the Representative List—as well as on the Register of Best Safeguarding Practices. It then examines how procedures to process nominations and inscriptions on the lists and register have been improved and rationalised since drawing up the first version of the Operational Directives in 2008.The paper takes note of the significance of the capacity-building activities undertaken by the UNESCO Secretariat. It then addresses the implementation of the Convention at the national level on the basis of the First Periodical Reports on the implementation of the Convention that have recently been submitted to the Committee. Various fundamental issues are brought to light.Finally, the paper discusses the importance of distributing tasks among the three East-Asian Category 2 Centres for the implementation of the 2003 Convention in the Republic of Korea, the People’s Republic of China, and Japan and underscores the significant roles that have been entrusted to the information and networking centre in the Republic of Korea.

Allington Ndlovu highlightes interventions by local communities on how they have deployed indigenous knowledge systems to treat COVID19 symptoms and also enhance food security in light of job losses and lockdowns.

The Mongolia is rich in Shamanic heritage, including both physical artifacts, ritual sites, places of cultural or historical interest and protected landscapes (‘tangible’ heritage) together with rituals, ceremonies, folklore, music, handicrafts, and traditional knowledge ( known as ‘intangible’ heritage). Under Mongolian shamanism we can understand complete science of nomadic philosophy, TNGRI worship, Sacred of peak mountains ritual, parallel psychology of Heaven, earth, fire and human life and supernatural consciousness of Nomadic. On that account we could understand Shamanism is reliable source of Nomadic culture. The Mongols, who themselves worshiped Heaven but had respect for all other religions. The Shamans are merely respected as priests of Heaven./TNGRI/ In Shamanism; the world is alive full of spirits. The plants, animals, rocks, mountains and water, all have a soul. These spirits must be respected to be in the balance with all of them. Balance is an important thing to keep harmony within you, the community, and the environment. When things get out of balance, there are harmful effects. This is when we need a shaman for help. Shamanisms believe in a concept called buyan (physical power) that is very close to the belief of karma (fate). The shaman loses buyan (buyanhishig) by violating taboos, when he has no respect for spirits or our ancestors.

This paper provides an overview of the Intangible Cultural Heritage program developed by the Heritage Foundation of Newfoundland and Labrador, Canada. It traces the early development of the program, and then provides an overview of two recent projects that explore, document, and encourage the continued safeguarding and sharing of ICH knowledge and skills: the Living Heritage Economy Case Study project, and the Oral History Roadshow. Background Newfoundland and Labrador is the easternmost province of Canada. Situated in the country's Atlantic region, it incorporates the island of Newfoundland and mainland Labrador to the northwest. It has a combined area of 405,212 square kilometres, with a population of just over 514,000. Most of the population is concentrated on the eastern portion of the island of Newfoundland.

It is imperative that the material development of a country be linked with cultural development. Such cultural development should pave the way to develop an integral citizen with knowledge, skills, and positive attitudes enabling him or her to appreciate and honor others’ traditions and beliefs. If not, material development and the connected technology will create an inhumane and disoriented person bent on disruption. A rejuvenated man from contemporary cultural decadence will be created through proper educational methods, righteous religious philosophy, true mass media application, and appropriate arts and cultural practices and applications. Janakaraliya drama and theater arts program primarily supports the development of a proper education system and application of arts and cultural practices.

Korean shamanism has two faces. One firmly preserves tradition maintaining consistency from ancient past and this is the essence of traditional shamanism. This is how shamanism retains continuity with the past and serves as an important part of cultural heritage. Meanwhile, Korean shamanism is also going through drastic changes to adapt to the changing social environments, becoming a part of modern cultural heritage. It continues in different dimensions of transition and being reborn with each new era. In this sense, Korean shamanism is constantly changing. On the other hand, some part of Korean shamanism remain constant amidst the process of change. The most pertinent modes of transmission are found in the dimensions of linguistics, oral tradition, behavior, and materials. Linguistic transmission in Korean shamanism is based on the linguistic foundation of local dialects a unified national language. It is also considered to be a result of historical transmission as it contains the legacies of certain historical eras. Oral tradition refers to the comprehensive sum of transmission through elements in muism and gut culture such as bonpuri, muga, ritualistic language and individual initiation ceremonies. Transmission through actions or behavior include ritual dances and other ritualistic acts. Material transmission refers to material elements derived from the shamanistic ritual of gut as well as the entire tradition.

Dance is not the creation of a single individual but an entire culture developed by many people through the ages, gradually changing and being polished over time. As such, it is a valuable cultural heritage that embodies the character and emotions of a people and reflects the spirit of the times. Each movement and each step in dance, therefore, impart a sense of the history and lives of people of the past. (File, 2013, pp. 9–10)\nMovement disciplines like dance and martial arts embody the cultural heritage in which they developed. This chapter aims to map part of Korea’s cultural heritage by identifying certain movement characteristics shared by both traditional Korean dance and some traditional Korean martial arts. This chapter will also show how adaptations to fit with modern trends, such as K-pop music, can cause a martial art to lose its traditional character.\nThis study employed ethnographic descriptive research, cross-referenced with written work. My findings are based on the first-hand experience of practicing Korean martial arts, dance, and percussion (hourglass drum), and are further enhanced by years of observing Korean movement disciplines such as dance performances and informal interviews with traditional choreographers, dancers, and martial artists. Through this, I have identified specific movement characteristics that are present in both Korean traditional dance and many Korean martial arts. It is important to note that there are many types of Korean traditional dance, ranging from court dances, folk dances, and religious or ritual dances. My focus has been on those movement characteristics shared by most of these dance forms, thereafter identifying similar movement characteristics found in several Korean martial arts. These characteristics are not always present in every movement; however, most of them are usually perceivable and it is their synergy that gives a Korean “flavor” to these traditional movement disciplines.

Venerated from a time before antiquity as life-giver, water has been held in the highest esteem in all cultures and eras. Water-related mythologies show as much the divine character associated with it, as its qualities that lie beyond the material. In our time, the intangible cultural heritage (ICH) and traditional knowledge that surround water still give us an entryway to a fuller understanding of the great life-giver.

This publication contains papers from the 2021 World Intangible Cultural Heritage Forum held online for three days, from September 29 to October 1, 2021. The event was hosted by the National Intangible Heritage Center and organized by ICHCAP.\n\nThe forum was held under the theme of “Rediscovering Intangible Cultural Heritage in the Era of Convergence and Creativity” to re-examine the creative value of intangible cultural heritage and present the possibilities by examining examples of innovation and value creation through intangible cultural heritage.

An eminent gathering of experts and the diversity of their knowledge based on first-hand efforts at safeguarding intangible heritage makes the task of a rapporteur daunting. Please allow me to share some reflections from a day of intense discussions. Rather than a summary of presentations, which are already provided by the organisers, I beg your attention to the following. The Director-General of UNESCO, Madame Irina Bokova, has consistently emphasised the critical role of a culture in peace and sustainable development. She says that it ‘is a source of identity and dignity for local communities, a wellspring of knowledge and strength to be shared’. The safeguarding of intangible heritage is critical to the viability and sustainability of this ‘source of identity and dignity’. Safeguarding is a process that informs intercultural, intergenerational, interagency, and interdisciplinary dialogue.