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.

In Turkmenistan, the national inventory of intangible cultural property comprises five domains: oral expression, beliefs, performing arts, craftsmanship, and traditional knowledge. Epics belong in the division of oral expression. More than ten elements have been identified in this field, including epics such as Gorogly, Shasenem and Garip, Zokhre and Takhir, Khuyrlukga and Khemra, Sayatly Khemra, Asly Kerem, Arzy-Gambar, Khatamnama, Warka-Gulsha, Kasym oglan Melike-Dilaram, Nejep oglan, and Tulum Hoja. The epic Gorogly holds an especially important position among Turkmen epics.

The parent organization of CEE Himalaya is the Centre for Environment Education (CEE), which was established in August 1984. CEE is a national institution with its headquarters in Ahmedabad and has been given the responsibility by the central government of promoting environmental awareness nationwide. It undertakes demonstration projects in education, communication, and development that endorse attitudes, strategies, and technologies that are environmentally sustainable. Based in the city of Lucknow in the state of Uttar Pradesh, CEE Himalaya has been working in the states of the Indian Himalayan Region (IHR) for over two decades. The mission of CEE Himalaya is to enhance understanding of sustainable development in formal, non-formal, and informal education through its work with schools, higher educational institutions, local and Indigenous communities, policy makers and administration, youth, and the general commu-nity. The primary objective of CEE Himalaya is to improve public awareness and understanding of environmental issues with a view to promote the conservation of nature and natural resources by integrating education with traditional streams of knowledge and cultural expressions. This approach demonstrates and grounds sustainable practices in rural and urban communities and facilitates the involvement of the business and public sectors to respond to the effects of climate change and variability.

Cultural heritage is not limited to archaeological sites, monuments, and collections of objects. It includes tradi- tions or living expressions inherited from our ancestors and passed on to our descendants, such as ceremonies, rituals, performing arts, beliefs about the world, and enactment prac- tices. While these expressions may not be tangible, they are a continuously evolving form of living tradition, recreated and adapted in response to the environment around us. They provide us with a sense of identity, a feeling of belonging, and an inclusive, representative, collective way of expressing culture.

"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.

Based on a common geographical environment, the people of East Asia share a similar sense of the seasons and have been sharing the seasonal festival traditions for many years, which to a certain degree has brought commonality to their experience of heritage. The seasonal festival traditions in East Asia have a localized form of expression and common features.2) They all attach importance to seasonal nodes such as the Mid-Autumn Festival, Half of July, April Eight, and the Twenty-four Solar Terms. They value family ethics in the practice of festivals and share Confucian, Taoist, and Buddhist cultural traditions, with emphasis on “red-hot sociality.” As they collectively enjoy seasonal festivities, they continue creating arts-related activities around these festivals and transmitting their heritage values to the younger generation. East Asia's practices of seasonal festival traditions are both a manifestation of cultural diversity and cultural sharing. This presentation will discuss the sharing, sustaining, and collaborative safeguarding f East Asian Seasonal Festivals as ICH.

Bangladesh is rich in intangible cultural heritage in all the five domains outlined in the 2003 ICH Convention namely oral traditions, performing arts, social practices, rituals, and festive events, knowledge about nature and the universe and traditional craftmanship.Four elements are inscribed in the UNESCO representative list and two applications are submitted in 2019. The Ministry of Cultural Affairs has a list with literature of 54 elementsunder the 5 ICH domains, while researchers identified 123 elements. Comprehensive inventorying of living heritages is under process with the Government. Bangladesh, by ratifying 2003 Convention, assumes its obligation of safeguarding these elements of ICH. Among the elements, some are sustainable for the economic output of the objects associated with the elements. Others remain vulnerable for change in lifestyle, knowledge pattern, social and economic advancement, science and technology. Require safeguardfor sustainable development that includes transmission of the ICH elements for generations.

The Loden Foundation has identified ten ICH elements of Bhutan that are on the brink of disappearing as time passes. To preserve records of these cultural traditions and raise awareness of them among the people, the foundation aims to make documentaries about these elements with support from ICHCAP. \n

The Pacific Islands Museums Association (PIMA) is a regional, non-governmental organization that assists museums, cultural centers, national trusts, cultural departments and ministries, cultural associations, and arts councils. PIMA acknowledges the richness of the Pacific’s ICH and has undertaken some successful initiatives to support ICH safeguarding.