The Cấp sắc (“promotion”) ritual, also known as “Tự cải” is a renaming ritual for a grown boy of Dao ethnicity. It is the most important ceremony in a Dao man’s life. Every Dao boy must go through this ritual to be recognized by the ancestors and the community as a grown man, and to earn the right to participate in the family’s important business.

This is a dance in the Kathakali tradition, one of the 4 major traditional dances of India, based on the story of Daksha Yaagam, about King Daksha, father of Sathi, wife of Shiva. Kathakali is a traditional art form dating back 600 years, originating from Kerala State in Southwest India in the 17th century. It is a comprehensive theatrical performance combining dance, theatre, music, makeup and costumes in a cohesive whole. Just like the Bharatanatyam, the Kathakali is a religious play in which the performer recites stories in the form of poetry and expresses it through dance and acting. The plot of Kathakali dances are based on traditional stories such as the epics of Mahabharata, Ramayana and Shaiva which form the roots of inspiration in Indian culture. At the core of the aesthetics of Indian dance is the purpose of oneness with the supernatural or rasa.\n\nKathakali performances begin at 6 pm in outdoor stages and carry on until morning the next day. Thus, it requires great physical and mental strength, and only dancers who have gone through the toughest training are allowed to perform. Traditionally, the dance was performed only by men and male dancers played women’s roles as well. Although it was a form of high culture, only performed in the royal courts in the 17th century, it is now widely enjoyed by the general public.\n\nCharacteristics:\n∙One of the 8 major traditional dances recognized by the Indian government\n\nPerformed by Kallekulangara Kathakali Foundation\nChoreographed by P.N.Ventikattaraman

This is a dance in the Kathakali tradition, one of the 4 major traditional dances of India, based on the story of Daksha Yaagam, about King Daksha, father of Sathi, wife of Shiva. Kathakali is a traditional art form dating back 600 years, originating from Kerala State in Southwest India in the 17th century. It is a comprehensive theatrical performance combining dance, theatre, music, makeup and costumes in a cohesive whole. Just like the Bharatanatyam, the Kathakali is a religious play in which the performer recites stories in the form of poetry and expresses it through dance and acting. The plot of Kathakali dances are based on traditional stories such as the epics of Mahabharata, Ramayana and Shaiva which form the roots of inspiration in Indian culture. At the core of the aesthetics of Indian dance is the purpose of oneness with the supernatural or rasa.\n\nKathakali performances begin at 6 pm in outdoor stages and carry on until morning the next day. Thus, it requires great physical and mental strength, and only dancers who have gone through the toughest training are allowed to perform. Traditionally, the dance was performed only by men and male dancers played women’s roles as well. Although it was a form of high culture, only performed in the royal courts in the 17th century, it is now widely enjoyed by the general public.\n\nCharacteristics:\n∙One of the 8 major traditional dances recognized by the Indian government\n\nPerformed by Kallekulangara Kathakali Foundation\nChoreographed by P.N.Ventikattaraman

This is a dance in the Kathakali tradition, one of the 4 major traditional dances of India, based on the story of Daksha Yaagam, about King Daksha, father of Sathi, wife of Shiva. Kathakali is a traditional art form dating back 600 years, originating from Kerala State in Southwest India in the 17th century. It is a comprehensive theatrical performance combining dance, theatre, music, makeup and costumes in a cohesive whole. Just like the Bharatanatyam, the Kathakali is a religious play in which the performer recites stories in the form of poetry and expresses it through dance and acting. The plot of Kathakali dances are based on traditional stories such as the epics of Mahabharata, Ramayana and Shaiva which form the roots of inspiration in Indian culture. At the core of the aesthetics of Indian dance is the purpose of oneness with the supernatural or rasa.\n\nKathakali performances begin at 6 pm in outdoor stages and carry on until morning the next day. Thus, it requires great physical and mental strength, and only dancers who have gone through the toughest training are allowed to perform. Traditionally, the dance was performed only by men and male dancers played women’s roles as well. Although it was a form of high culture, only performed in the royal courts in the 17th century, it is now widely enjoyed by the general public.\n\nCharacteristics:\n∙One of the 8 major traditional dances recognized by the Indian government\n\nPerformed by Kallekulangara Kathakali Foundation\nChoreographed by P.N.Ventikattaraman

Preparation for the welcoming of a new year has been always a very important set of activities. People beforehand prepare and clean their households, clear the ditches, wear new elegant clothing, prepare rich variety of foods for Dastarkhan (holiday table with dishes). Rich abundance of food is prepared during the celebration of Nauryz. Festive Dastarkhan is served in every house symbolizing prosperity and abundance. Prior and after the meal mullah reads prayers in the honor of ancestors. then eldest man gives out his blessing "Bata"with wishes of a happy new year. The main festive dish on Dastarkhan is a traditional meal called Nauryz kozhe (Nauryz porridge) that includes seven sacral ingredients: water, meat, salt, mutton lard, flour, cereals and milk. Seven components of Nauryz kozhe symbolize seven elements of life. Big pot for cooking Nauryz kozhe symbolizez unity. Nauryz holiday is always accompanied by mass fun and outdoor activities. swinging on Altybakan swings, and engagement in sports competition: wrestling, horse riding games, Aitys (singers contest) and other music competitions.

Preparation for the welcoming of a new year has been always a very important set of activities. People beforehand prepare and clean their households, clear the ditches, wear new elegant clothing, prepare rich variety of foods for Dastarkhan (holiday table with dishes). Rich abundance of food is prepared during the celebration of Nauryz. Festive Dastarkhan is served in every house symbolizing prosperity and abundance. Prior and after the meal mullah reads prayers in the honor of ancestors. then eldest man gives out his blessing 'Bata' with wishes of a happy new year. The main festive dish on Dastarkhan is a traditional meal called Nauryz kozhe (Nauryz porridge) that includes seven sacral ingredients: water, meat, salt, mutton lard, flour, cereals and milk. Seven components of Nauryz kozhe symbolize seven elements of life. Big pot for cooking Nauryz kozhe symbolizez unity. Nauryz holiday is always accompanied by mass fun and outdoor activities. swinging on Altybakan swings, and engagement in sports competition: wrestling, horse riding games, Aitys (singers contest) and other music competitions.

Preparation for the welcoming of a new year has been always a very important set of activities. People beforehand prepare and clean their households, clear the ditches, wear new elegant clothing, prepare rich variety of foods for Dastarkhan (holiday table with dishes). Rich abundance of food is prepared during the celebration of Nauryz. Festive Dastarkhan is served in every house symbolizing prosperity and abundance. Prior and after the meal mullah reads prayers in the honor of ancestors. then eldest man gives out his blessing 'Bata' with wishes of a happy new year. The main festive dish on Dastarkhan is a traditional meal called Nauryz kozhe (Nauryz porridge) that includes seven sacral ingredients: water, meat, salt, mutton lard, flour, cereals and milk. Seven components of Nauryz kozhe symbolize seven elements of life. Big pot for cooking Nauryz kozhe symbolizez unity. Nauryz holiday is always accompanied by mass fun and outdoor activities. swinging on Altybakan swings, and engagement in sports competition: wrestling, horse riding games, Aitys (singers contest) and other music competitions.

Children play assyk aty at a village street.\nKazakh traditional Assyk games are an ancient tradition in Kazakhstan. Each player has their own set of ‘Assyks’, traditionally made out of the talus bone of a sheep, and a ‘Saka’ dyed in bright colours. Players use their Assyk to knock out other Assyks from the field, and the focus is on the position of the bone. The community concerned comprises most of the population of Kazakhstan, including members of the Federation ‘Assyk Atu’ Game as well as the larger community of practitioners, mainly children aged between four and eighteen. The element is an outdoor activity that helps develop children’s analytical thinking and physical state, fostering friendship and social inclusiveness. It is also a good model for positive collaboration, uniting people regardless of their age, ethnic background or religious affiliation. It is widely practised at festive celebrations and gatherings, and the community plays a key role in safeguarding the practice, as well as in popularizing it among other ethnic groups in Kazakhstan, turning it into a national symbol of childhood. It is transmitted from older boys to younger ones through observation, as well as through radio and TV documentaries aimed at encouraging children to play Assyk and acquainting people with their cultural heritage.

The annual Gangneung Danoje Festival takes place in the town of Gangneung and its surroundings, situated east of the Taebaek Mountain Range on the Korean peninsula.The festival includes a shamanistic ritual on the Daegwallyeong Ridge, which pays tribute to the mountain deity and male and female tutelary deities. It encompasses traditional music and Odokddegi folk songs, the Gwanno mask drama, oral narrative poetry, and various popular pastimes. The Nanjang market, Korea’s largest outdoor marketplace, is today a major element of the festival, where local products and handicrafts are sold and contests, games and circus performances take place. The four-week long festival begins with the brewing of a sacred liquor and the Dano shamanistic rituals, in which a central role is played by a sacred tree, the sinmok, and the hwagae, a ritual object made of feathers, bells and bamboo wood. One of the specific features of the festival is the coexistence of Confucian, shamanistic and Buddhist rituals. Through the rituals devoted to the deities, the region is believed to remain unaffected by natural disasters, allowing all its residents to live in peace and prosperity.

Nang Talung is a traditional style of shadow puppetry from the southern region of Thailand. Records note that Nang Talung originated from Phatthalung, the birthplace of puppet theater, as the people of Phatthalung embraced influences from Indian puppet theater and created new forms. In the past, Nang Talung was an essential part of funerals, but today it is mainly staged as an outdoor performance, although it is gradually diminishing in popularity due to the development of modern media. In response, Nang Talung troupes are attempting various innovations such as adding Western instruments to their performances.

Nang Talung is a traditional style of shadow puppetry from the southern region of Thailand. Records note that Nang Talung originated from Phatthalung, the birthplace of puppet theater, as the people of Phatthalung embraced influences from Indian puppet theater and created new forms. In the past, Nang Talung was an essential part of funerals, but today it is mainly staged as an outdoor performance, although it is gradually diminishing in popularity due to the development of modern media. In response, Nang Talung troupes are attempting various innovations such as adding Western instruments to their performances.

Nang Talung is a traditional style of shadow puppetry from the southern region of Thailand. Records note that Nang Talung originated from Phatthalung, the birthplace of puppet theater, as the people of Phatthalung embraced influences from Indian puppet theater and created new forms. In the past, Nang Talung was an essential part of funerals, but today it is mainly staged as an outdoor performance, although it is gradually diminishing in popularity due to the development of modern media. In response, Nang Talung troupes are attempting various innovations such as adding Western instruments to their performances.