The culture of the Central Asian steppes expresses itself vividly in the lifestyle of traditional nomadic practices. Mongolian culture has been in practice in the nomadic life and the traditions surrounding the nomad’s home (ger). And it is present in religious celebrations, national festivals, art and crafts, music and dance, language and literature, which form the backbone of Mongolian intangible cultural heritage of Mongolia. Mongolia is filled with valuable cultural properties and intangible cultural heritage of humanity that have been kept or practiced for thousands of years.\n\nGer, Mongolian Traditional Dwelling\nThe traditional architecture of the Mongols differed strongly from that of the settled peoples of Asia and other continents. Centuries ago, there the ger, also known as a yurt, appeared. It still offers shelter to nomads in particular places in Central Asia. Its development and fundamental principles are determined by the specific features of the way of life of Mongol tribes, which made it necessary to evolve a light and collapsible structure to be used as a dwelling or for public functions.\n\nMongolian Language and Literature\nMongolian is the language of most of the Mongolian population and inner Mongolia. By origin, Mongolian is one of the Altaic family of languages, and the history of the Mongolian language is long and complicated. Significant literary work of early Mongolia includes The Secret History of the Mongols, which was published in 1228).\n\nMongolian Religion and Beliefs\nThe Mongols have practiced several religions, of which Shamanism and Buddhism were the most common. The faith in Mongolia is Buddhism, though the state and religion were separated during the socialist period, but with the transition to the parliamentary republic in the 1990s, there has been a general revival of faiths across the country\n\nMongolian Art and Crafts\nMongolian arts and crafts have been passed down across generations from the Paleolithic times to today, leaving behind deep impressions on all facets of life and conscious, aesthetic, and philosophical thinking. Highly developed Mongolian arts and crafts come from the second millennium BCE. The works included sculptured heads of wild animals with exaggerated features. Other items include knives, daggers, and other items of practical and religious use.\n\nMongolian Music and Dance\nMusic is an integral part of Mongolian culture. Among Mongolia’s unique contributions to the world’s musical culture are the long songs, overtone singing, and morin khuur (the horse-headed fiddle). The music of Mongolia is also rich with varieties related to the various ethnic groups of the country. Among the most popular forms of modern music in Mongolia are Western pop and rock genres and the mass songs written by contemporary authors in the form of folk songs.\n\nHorse Culture of Mongolia\nIt is famously known that horses play a large role in the Mongols’ daily and national lives. Common sayings are, “A Mongol without a horse is like a bird without wings,” and “Mongols are born on horseback” these are arguably true words. Even today, horse-based culture is still practiced by nomadic Mongolians.\n\nVisit https://www.toursmongolia.com/tours for additional information about Mongolian culture.\n\nPhoto 1 : Prairie meadow grass inner Mongolia traditional clothing © Batzaya Choijiljav\nPhoto 2~7 : © Batzaya Choijiljav

The Kyrgyz Shyrdagy Festival was inaugurally organized in 2010 by felt carpets producers in Kyrgyzstan, after UNESCO inscribed the traditional Kyrgyz felt carpets ala-kiyiz and shyrdak into the List of Intangible Cultural Heritage in Need of Urgent Safeguarding.\n\nThe festival is held every year in June in the mountainous Naryn region, famous for its felt carpets. The festival is managed by the Craft Council of Kyrgyzstan under the auspices of the Ministry of Culture and the Information and Tourism of Kyrgyz Republic with the support of the regional administration and in partnership with the local crafts communities, NGOs, international agencies, and private businesses.\n\nThe goals of the festival are to attract social attention to the necessity of safeguarding the art of traditional Kyrgyz felt carpets, to develop the local market of the felt carpets, and to develop event/cultural tourism, especially in remote mountainous areas of Kyrgyzstan.\n\nThe art of making felt carpets among Kyrgyz has ancient historical roots dating back to the first century BCE. Felt carpets are an important decorative component in the yurt, the traditional nomadic dwelling of Kyrgyz people, which is used by local residents in everyday life.\n\nThe process of making felt carpets is a socializing, unifying factor. It involves all family members and often relatives and neighbors. During the joint work, knowledge and skills are interactively transmitted by the older generation to young people.\n\nIn the past, felt carpets were not intended for sale; they were passed down from generation to generation, playing the sacred role in the family as an ancestral memory of the mother. Therefore, the carpet ornamentation was marked individually by the woman-creator—an imagery of the benevolence or the blessing of the mother to her descendants.\n\nShyrdak felt carpet today is a popular product on the local tourist market and international craft market, providing a significant income for rural women. Being exported to western countries, shyrdak carpets are highly appreciated as handmade eco-friendly products with unique ornamentation.\n\nWith about three hundred crafts artisans and participants, the Kyrgyz Shyrdagy Festival has become a national holiday, recognizing the Kyrgyz people’s cultural values. Residents of neighboring villages go to the festival, dressed in traditional festive clothes. At the festival, attention is given to master classes of the carriers of knowledge of ancient felt-making methods and contests are held for felt carpet producers to better carpet preservation.\n\nIn the past festivals, seventy craftspeople were awarded with diplomas and monetary prizes from state institutions and private foundations. Twenty-five awarded shyrdaks were gifted by organizers to five leading museums in Kyrgyzstan. In 2018, within the framework of the festival, it is planned to hold an international conference on preserving traditional crafts with the participation of the National Commission for UNESCO, museum representatives, and tourism and craft organizations.\n\nThe Kyrgyz Shyrdagy Festival is currently a meeting point for artisans, traders, representatives of travel companies, scientists, and aficionados of felt carpets from Kyrgyzstan and other countries. It promotes the development of the craft market in Kyrgyzstan and other regions, consequently improving the living standards and social status of artisans. The festival also demonstrates the inseparability of cultural ties between generations, stimulating young people to study, preserve, and develop traditional crafts and drawing the attention to preserving Kyrgyz ICH.\n\nPhoto : Shyrdagy festival photo © Photographer Urmat Osmoev CACSARC-kg

Traditional crafts have long been a part of the traditional nomadic culture of the Kyrgyz people, who have historically lived in close connection with nature. For the Kyrgyz people, the natural world was once seen as an inexhaustible source of raw materials and inspiration for the creation of handicrafts.

Azerbaijan is one of the oldest areas of human habitation, where people once lived in natural geological formations. In its territory, archaeologists have discovered caves where people lived as far back as the Paleolithic era. For centuries, architects accumulated knowledge and skills related to rational planning schemes and the constructional and compositional methods of building residential houses in the area. However, data on the development of residential houses in Azerbaijan have been available only since the eighteenth century. Although we have little evidence of the development of the residential house in Azerbaijan in earlier periods, there is little doubt that the houses of the eighteenth and nineteenth centuries that have survived to the present time contain many features developed earlier.

Kazakh ceramic art is as old as Kazakh history itself. Excavation sites of early and medieval nomadic cultures include many pottery traditions that mark historical milestones of the Great Steppe. The most ancient forms of ceramics found in the region correspond to similar pieces found all over the world. Researchers believe that the first pottery traditions were introduced during the Indo-Iranian (Aryan) era of nomadic cattlemen, which is associated with the Andronovo culture of the fifteenth to eighth centuries BCE. In medieval times, the increased demand for ceramics was linked to thriving medieval Silk Road townships. Though there are similarities with many other Eurasian schools of ceramic art, each area presents its own unique pieces that carry distinctive characteristics.

There are many aspects and dimensions to do research on Myanmar lacquer. Myanmar lacquerware has been studied by both local and foreign scholars from artistic and historical points of view. This research highlights the history of Myanmar lacquer, lacquer industry, and its prospects. Myanmar lacquer has a long history and remains as an active cultural phenomenon. But there are very few people who make a living from the lacquerware business. The main problems are the lack of market and scarce resources (labour and raw materials). This research’s objectives are to be able to preserve the traditional Myanmar lacquerware industry, to make it widely known internationally about the process of making Myanmar lacquerware, and to cherish the intangible cultural heritage of Myanmar. It also aims to show and record the current situation of lacquerware industry and to find ways of helping lacquer industry survive the challenges it faces today. In this research, a review of the relevant books, library survey, and field study are done, in addition to interviews with lacquerware makers, taking photographs on many aspects of Myanmar lacquerware, and foreseeing its prospects. The research areas focused on are Bagan and Kyaukka village.\nKey words: lacquer in Myanmar, Bagan, Kyaukka village, industry, production

The decorative and applied art of any country is diverse and multifaceted, remaining a connecting thread between the past and the present, while reflecting the strict adherence of the peoples to the ancient culture of their ancestors. One of the most ancient types of decorative and applied art of the Turkmen people is embroidery, which occupies a special place in the decoration of traditional clothing of both women and men. Embroidery is connected by its theme, symbolism with the ancient history of Turkmenistan, with all the civilizations that have passed through this land.

Bangladesh has utilized limited opportunities of international networking for safeguarding its distinctive and diverse Intangible Cultural Heritage (hereafter ICH) elements as the networking activities are still limited to only in policy framing and in discussions, files and trainings of the government officials. No effective measure has been taken so far by the government to safeguard the transmission process of the disappearing ICH elements, though United Nations Educational, Scientific and Cultural Organization (hereafter UNESCO) and some other development partners voluntarily have been providing both financial and technical supports to the government of the People’s Republic of Bangladesh to formulate a national inventory of ICH and to take effective measures for safeguarding ICH elements since the beginning of the 21st century. But, so far the plans, policies and guidelines could not be translated into reality. Meanwhile, many practitioners have been giving up practicing traditional art forms, music, customs, knowledges and skills, which they inherited from the ancestors, because of poverty, lack of safeguarding measures, unplanned urbanization, disappearance of spaces, impact of foreign culture, and shirking of their jobs for ever growing popularity of satellite TV channels, gadgets and the Internet. This study, developed through primary and secondary data analyses, explores the causes those stand in the way to achieve the expected goals for safeguarding ICH in Bangladesh and also provides some possible solutions to the problems with the aim of capitalization of the maximum benefits from international networking.

"In a region as geographically immense and culturally diverse as the Pacific, intangible cultural heritage must be seen in terms of diverse worldviews, each with its own knowledge system and philosophy of life that structures and informs. This section addresses how intangible cultural heritage is reflected through specific cultural worldviews. As specific and unique as they are, however, each Pacific worldview can be seen as having a commonality structured by three dimensions: the spiritual, the physical, and the afterlife or ancestral realm. \nDespite their commonalities, the themes in this section still represent Pacific elements of knowing, philosophy, governance, and wisdom that sculpt life from vastly unique perspectives. The Tongan concept of heliaki, for instance, is not just a knowledge of language and prose, but rather a construct through which the Tongans build views about themselves and their interactions as well as the hierarchy within their society. In a similar way, Palauan place names are much more than words to mark locations; they are capsules of knowledge, events, and history that help the Palauan people identify themselves and their connections to one another. In these and the other themes in this section, the included values incorporate how the Pacific peoples perceive reality and interconnectedness and how their knowledge has shaped their worlds."

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.

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.

Igal is a fast but gentle dance that is shared by the Sama people of Tawi-Tawi Island, located in the southernmost part of the Philippines, and the people of the western provinces of Mindanao. Igal is called Pangalay in Tausug and Pamansak in Yakan, all meaning ‘dance’.\n\nIgal has no specific choreography and is improvised without repeated movements. It is also rooted in the form of worship performed with the body. It expresses the ecstasy that accompanies the tauhid, that is, the manifestation of a divine being, and tries to become one with nature through dance and get closer to God. Igal is a dance of the moment. Basically, there is no song, and it proceeds in smooth and soft movements according to the sound of traditional instruments, and this music is an important element that inspires the dancer’s movements. While other dances move faster in proportion to the beat of music, the Igal dance moves slower as the music speeds up. Also, when performing the Igal dance, an ornament called Janggay is worn on the fingers, which maximizes the movement of the fingers to add elegance and artistry. The characteristic of dancing is to not stop moving the hands until the end of the dance, and to avoid excessive body movements.\n\nThe Igal dance is an important element that expresses the cultural identity of the Sama people, and it has inspired modern dance and contemporary art creations in the Philippines. In the Simunul region, local festival dances were created based on the Igal dance, and this phenomenon is an important part of the life of today’s generation, and it is an important example of vitality and reinvention handed down to tomorrow’s generation.\n\nThe Igal dance:\nhttps://www.youtube.com/watch?v=eViUTF7id68&list=PLXen1g2tAaHDVurZGxieuywxmvMjFfgPZ\n\nThis traditional Igal dance of the Philippines video is one of the 10 ICH video Documentary Series, which is the result of the collaborative project between ICHCAP and National Commission for Culture and the Arts(NCCA) in the Philippines. Both organizations aim to raise visibility and strengthen the public’s access to ICH in the Philippines through this project.\n\nVideos represent the most accurate method of capturing ICH as it exists in the real world, as well as being effective tools for communicating with the public. ICHCAP will endeavor to continue vividly documenting the scenes of ICH that are hidden across the Asia-Pacific region with the aim of raising the profile of ICH elements as treasures of humanity and introducing them to the public.\n\nPlease refer to the brochure for more information on the Philippines ICH video documentary.\n\nPicture 1~6: Traditional Igal Dance in the Philippines © ICHCAP