ICH is an integral part of the indigenous population of Fiji known as the iTaukei. Borne of a rich oral tradition that spanned migration from Southeast Asia into the Pacific from 3,500 B.C., the iTaukei people of Fiji share many similarities with their island neighbors of Melanesia and Polynesia. ICH has manifested itself in many elements—from oral traditions, social practices, knowledge of nature, traditional craftsmanship, and performing arts. These elements exist in a rich interplay of reciprocal social systems in which the pinnacle is the chief, the physical embodiment of the ancestral spirits. Practice of the various elements legitimizes and enforces the status quo in traditional iTaukei life.

Sri Lanka has a diverse dancing culture where three main styles represent the classical dance tradition. These styles are known as Kandyan dances of the hill country (Uda Raṭa Nätum), the low country dances (Pahata Raṭa Nätum), and the mid-country (Sabaragamuva Näṭum). These three classical dancing styles are transmitted across generations with their ritualistic identities that are unique to movements, motions, costumes, and instruments. In the context of mask dancing, it is more relevant to the low country style, which is highly ceremonial and performed for ritualistic offerings to various devils. The dancers wear masks portraying many characters in different forms of spirits according to their characteristic features.

In Myanmar traditional dance, Yein Aka (group dance) is a form in which dancers perform solos, alternating with their fellow group members. It is performed with the accompa\u0002niment of a traditional orchestra known as Hsaing Waing. There are various kinds of Yein, including Thagyan Yein (water festival dance), Nat Kadaw Yein (a dance to pray to spirits), A Pyodaw Yein (ladies’ dance), and Simi Yein (candle light dance). Most group dances are performed by women, although some are for men.

Culture. Is it still relevant in the twenty first century, the age of globalization? Can culture provide useful input in solving the problems of development, democracy, economy, environment, urban development, interfaith, and social development? Such questions on the role of culture have become targets of attention and debate among world leaders and experts today.

Thailand is divided roughly into five parts: north, northeast, central, east, and south. Northeast Thailand is called Isan in Thai. Making up a total of a third of the population and land area of the country, Isan comprises twenty provinces and at least fifteen ethnic groups, each of which believes in spirits that bring community rules and peacefulness. The way of life relies on traditional knowledge that is based on natural resources in the communities.

The Pacific is known for its lush surroundings, white sandy beaches, deep blue ocean, acres and acres of land, friendly people, and mouth-watering delicacies. Fiji is no exception to this.

A major part of the Iranian Plateau consists of vast deserts with low precipitation ratios. Interestingly, the land has been home to numerous settlements since prehistory. To all these settlements, water constituted, as it is still is, a vital natural resource with economic, social, and cultural values.

Located in the southern part of the Red River Delta, Ha Nam province bears cultural traces of the ancient Viet, where such typical cultural heritages as Trần Thương Temple Festival, Tịch Điền festival (the annual plowing festival), drum making craft of Đọi Tam village, weaving craft of Nha Xá village, martial arts of Liễu Đôi village, etc have been preserved. This land is also famous for a rich and valuable treasure of literature and folk performing arts such as Dậm - Quyển Sơn singing, Lải Lèn singing and especially Trong quan singing that hardly seen in any localities.

Ikat making in Uzbekistan is an ancient type of applied art. The history of Ikat atlas and adras making technologies in the territory of Uzbekistan dates to the late antique period. Historically, Margilan, as the heart of the Fergana Valley, was the birthplace of advanced silk craftsmanship of Central Asia and the center for making atlas and adras—vivid and fine traditional fabrics.

I started the Manipuri Theatre group when I was 20 years old. Our first production was held in Ghoramara, and the experience and feelings of it were inexplicable. The word ‘theatre’ was alien to us until then. We realized that the villagers were not accustomed to such an indigenous production. It was not like traditional folk theatre on religious tales—the subject delved into vagaries of everyday life and struggle. However, the idea was incepted in a casual way. At that age, our usual recreation was sports or picnic. Drama production had never been an option. The idea came from watching traditional Manipuri religious drama Ras Leela.

Ningyo johruri bunraku is a puppet theatre composed of three elements: the chanter, the shamisen player, and three puppeteers. Bunraku originated at the end of the sixteenth century and was first performed outside or inside makeshift theaters, but in the mid-seventeenth century, it began being performed in more prominent theaters in cities such as Osaka, Kyoto, and Edo (now known as Tokyo).

Federation of Handicraft Associations of Nepal was established in 1972 to enhance and promote handicrafts trade and industry. It is a service-oriented non-profit organization working with the private sector and the artisan community. It helps its members to improve their productivity, explores markets and introduces them to the international arena. It also acts as a liaison agency between its members and the government and other non-government organizations. The aim of the federation is to work towards a steady growth of handicrafts trade and industry. They encourage Nepalese artisans to adopt handicraft production as their profession by preserving Nepalese cultural heritage.