Embroidery is an ancient decorative and applied art of the Tajiks that is used for decorating dresses and homes. In the Tajik language, embroidery is gulduzi, which is understood as the process of using colorful threads to sew ornaments, flower images, and symbolic drawings on cotton or silk fabrics. Tajik embroidery practitioners are women. Embroidery art masters sew women’s shirts, men’s and women’s national caps, pillows, bedspreads, headscarves, towels, curtains, cradle coverlets, and wall decorations, known locally as suzani.

Helena Norberg-Hodge speaks about the importance of local community networks and is sure to highlight the dangers of the influx of global finance, markets, etc. as they undermine the local communities that are exploited in the process, removing their heritage and security and giving it to a global market, which degrades the value of the communities. She is sure that the future for economic wellbeing of communities is to remain local with some trade between and among local communities, a small scale endeavor that doesn’t include multibillion overlords calling the shots to determine what is needed around the world rather than what is needed locally.

Old Polish sabre fencing fits within the limits of broadly understood Polish martial art, which in addition to sabre fencing includes fighting on war horses with a hussar lance, pickax (horseman’s pick), scythe, or Polish lance. The basis for the claim that Poland has its own sabre fencing pattern is the fact that it developed its own type of sabre pattern called the hussar sabre (Kwaśniewicz, 1988, p. 66) and the existence of Old Polish fencing with palcaty (short sticks) (Kwaśniewicz, 2017, p. 473)—an important element in the preparation of noblemen and courtiers for fencing with this weapon known as “cross art” (Jezierski, 1791, p. 213), and in the case of short sticks, “striking the clubs ( )” (Kitowicz, 1985, p. 113). This had its origins in the 16th century and its tradition was cultivated until 1939. It was resurrected as a Polish martial art in 1986 under the name Signum Polonicum, functioning as a contribution of Polish national heritage to the world family of national sports and martial arts.

Starting my report, I would like to emphasize that ethnic identity has always been represented by a wide range of elements beginning from the basic such as the ethnic self-consciousness. I deliberately abstain from academic style of delivering and specific terms and definitions, under- standing that nowadays the audience is widely represented not only by the professional ethnologists and anthropologists, but by the representatives of culture sector and general public as well.

Bula Vinaka and warm greetings from the Pacific Community in Suva, Fiji.It is my pleasure to share some key messages from the Pacific region on the event of the 2021 Expert Meeting for Building Network on Maritime ICH and webinar series titled: “Maritime Living Heritage: Coastal Communities in the Asia-Pacific Region and Their Traditional Food Systems.” From a Pacific islander perspective, cultural heritage is understood holistically beyond our built heritage and monuments. Cultural heritage is seen as cultural wealth and includes knowledge and skills transmitted across generations

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.

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.

Cultural heritage is a synchronized relationship involving society (systems of interactions connecting people), norms, and values (ideas such as belief systems that attribute relative importance). Symbols, technologies, and objects are tangible evidence of underlying norms and values. Thus, they establish a symbiotic relationship between the tangible and intangible. Intangible heritage should be regarded as a larger framework in which tangible heritage takes on shape and significance within.

Traditional navigators are trained to recognize physical signals in, “sea, skies, and stars, memory signals from knowledge of star, swell, and wind compasses… and cultural knowledge recorded in chants, dances, and stories”.

Across the East African region, intangible cultural heritage is situated and ICHoriented NGOs evolve in a challenging environment, where the promotion and preservation of the region’s diverse and rich intangible heritage is considered a low priority, and generally unhelpful for meeting these countries’ considerable development challenges. As a result of the negative connotations given to culture—due to a variety of\nfactors, both historical, religious and social—and, therefore, to the very limited resources that are made available for its preservation in all its forms, few NGOs are active in this field, and their activities are both fragmented and poorly resourced. Nevertheless their numbers are increasing, their range of activities is widening, and coordination mechanisms (including with their respective governments) are emerging. This gives hope for a future where NGOs active in the ICH field will be in a better position to make the important contribution that is sought of them.

The Quebec Council for Intangible Heritage (Conseil québécois du patrimoine vivant, CQPV) has undertaken the task of measuring ICH in the corollary Canadian province. The CQPV created and collected data from various sources in order to analyse the main ICH actors and their socio-economic environment and published a 104-page report, including recommendations for public authorities. The aim of the initiative is to better administrate ICH and enhance the support provided towards it. It can be an interesting alternative or complement to national ICH inventories.

Established in 2000, The Loden Foundation is a registered civil society organization in Bhutan with the objectives of promoting education, cultural preservation, and entrepreneurship among the Bhutanese children and young adults; promoting education and learning at the preschool, school, and post-school stages, and thereby fostering an enlightened and educated society in Bhutan; promoting awareness of the education and the needs of local communities in relation to entrepreneurship, health education, practical skills and crafts, and literacy among remote villages and communities within Bhutan; preserving and promoting the cultures and tradi- tions of Bhutan; and undertaking, if need be, other charitable work that contributes toward the welfare of the public.