Gardening is a popular branch of traditional agriculture in Tajikistan. The term bāgh (garden) among Tajiks has three meanings: a home garden inside one’s own yard; a walled garden alongside the yard; and a garden far from the home and yard, where people go during summers to temporarily live and work. In these gardens, people grow fruit-bearing and shady trees as well as flowers and other crops.

Bamseom, located between Yeoido-dong, Yeongdeungpo-gu, and Seogang-dong, Mapo-gu, in Seoul, is a village that used to be known as being home to boatwrights. As well as a means to travel to other regions across rivers and seas and to freight large loads at a time, the ship also has important symbolic meanings in Korean traditional culture. As part of the process of developing Seoul, explosives were detonated on Bamseom on 13 February 1968, in anticipation of which the residents moved to the nearby Changcheon-dong neighborhood. Since the twentieth century, the development of railroads and automobiles, and the associated construction of roads and big bridges, reduced the effectiveness of water transportation. This migration from Bamseom and the decreased need for boats drove boatwrights into a crisis, as a result of which they eventually became housebuilders.

Indigenous Fijians feel a close connection with the sea, land, and nature. In Fiji, jewelry making began way back in the time of the ancestors, dating back to the eighteenth century or even earlier. Traditional indigenous knowledge, beliefs, and practices were seen in the unique creation of hand-crafted jewelry and adornments. These pieces were mainly worn to display social status, functioning as symbols of rank and leadership, or as markers of clan membership.\nThere were distinctions in the types of jewels and adornments worn by a chief (turaga), a warrior (bati), the wedding attire of a bride (yalewa vou) and groom (tagane vou), and those used in ceremonies and celebrations where men, women, and youths adorned themselves with necklaces of shell (taube qanivivili), bead (taube), or clay (coko qwele). Chiefs and warriors mainly wore breastplates (civavonovono), whale ivory (tabua), sperm whale tooth necklaces (waseisei, also known as wasekaseka), boar tusk necklaces and hand bands (bati ni vuaka), while white cowry shells (buli vula) are mainly worn by brides and grooms, and also worn during a traditional dance/performance (meke).

Lialiaci is a publication of the iTaukei Institute of Language and Culture, Ministry of iTaukei Affairs. Lialiaci means to ponder or reflect upon deeply.\n\nThat is the intent of these articles and perspectives on culture.

Traditional treatment methods and folk remedies are used in Turkey for treating diseases, besides modern medicine. Applications within traditional treatment methods are mostly related to food and drinks. \nFolk remedies are prepared from the roots, leaves, flowers and seeds of various plants including nettle, hibiscus, nigella, harmal, and camomile. Besides folk remedies, food eaten to maintain a healthy body and to treat diseases are a crucial part of traditional treatment methods. For example, colloquially, dead nettle is recommended to be eaten at least once in a year for healing. It is believed that trotter or calf bone which is boiled for hours is healing for broken bones. In making of these soups, garlic, which is essential in folk remedy is widely used. \n\nAccording to the data gathered from the field research I’ve carried out in various areas and with various groups in Turkey and my obser-vations from this field research, communities have a shared and strong belief that some meals have healing effects in puerperal period. In this special period, folk remedy which encourages the use of specific food as treatment is used. Current practices in folk remedy are transferred from generation to generation by midwives and mothers. In this article, I want to explore the foods which are believed to have remedial proper-ties during puerperal period and also are described as a prominent part of themselves by culture bearers.

Jeonju is the most popular city in Korea for its traditional culture. Jeonju is ranked number one in terms of the number of living human treasures, the cultural heritage index, and the traditional cultural and art performance index, indicating that traditional culture is more actively practiced and performed in the city than any other city in the country. Against this backdrop, the Korean government designated Jeonju a traditional cultural city, and traditional culture has been at the heart of the urban-development strategies of Jeonju. The city’s rich traditional culture dates far back in history.

Abstract: In this paper, the author discusses a diversity-focused approach to musical instruments, using Japanese traditional instruments as an example. In Japan, there are safeguarding systems in place to protect not only the performing arts and its performers, but also the techniques used for making musical instruments, instrument makers. . Simultaneously, there are many musical instruments of the same historical origin throughout Asia. Approaching the musical instruments in a new framework – one which includes the performers and instrument makers – adds new perspectives such as the natural environment, traditional knowledge, and methods for accommodating the conditions specified for each era. If we apply this perspective to Asian musical instruments, we may be able to discover new stories of diversity that connect musical instruments.

"In this region of many “lands” surrounded by water, knowledge of the land and its harvests is tied closely to identity and heritage. This section’s themes thus offer a closer look at how the knowledge of caring for the land and harvests is a way of feeling for the Pacific islanders. This ICH, in addition to coloring people’s interactions on the land and carrying expressions of respect, is a means of ensuring sustainability and prosperity.\nPacific islanders depend largely on the land and their harvests from it for their survival, but these also hold deeper meaning for life. To the people of Vanuatu, for instance, laplap soso'ur is more than an edible delicacy: it is a feature of their cultural identity and a means to bring people together across societal levels. Similarly, in Palau, the mesei taro fields are valuable property, but they are also much more in that these pieces of land are deeply connected to the identity of the people, particularly women, and figure prominently in the colorful oral histories of the Palauans. Both of these cases, along with the other themes in this section, reflect the profound value of ICH related to the Pacific islands and their harvests."

“A man in Pamir, from birth to death, is accompa- nied by all sorts of family and everyday rites and customs. In many traditions, including the prepa- ration and use of food, traces of deep geographical and climatic isolation are clearly visible.The Pamir highlanders who lived in closeness with their nature had a great culture, rich in traditions, cults, customs which created humane framework of actions in relation to wildlife. Cultural values and practices re- lated to caring for nature at the same time supported the life of the mountain peoples. This culture has become the main priority for the effective,reasonable and rational use of wildlife resources.Such behavior not only contributed to the survival of the mountain population in the most severe climatic conditions, but also became the main factor in the conservation of wild fauna and flora.

"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 art of tapa making is and has been practiced in a number of Pacific islands such as Hawaii, Samoa, and Niue to name a few. However, Fiji and Tonga are the main producers of this cloth to date. Tapa cloth or ngatu as it is called in Tonga, is made from the bark of the paper mulberry tree, hiapo. This article will examine the art of tapa making in Tonga, focusing on the stories behind some of the kupesi (stencils) embossed and then printed on the tapa cloth.