Traditional Indonesian batik was listed by UNESCO as an Intangible Cultural Heritage of Humanity on 2 October 2009. The unique and exquisite designs created by the artistic minds of citizens centuries ago, express their reverence to life and nature by painting cloth with symbols and characters bearing the philosophies of life.

Singapore is a culturally diverse society and one of the most religiously diverse nations of the world, and the understanding of cultural practices aids in fostering dialogue and social cohesion in such a social context. This paper discusses the important role of intangible cultural heritage (ICH) in fostering a deeper appreciation of the commonalities and differences among people, particularly in an era where societies around the world are facing complex effects of social diversity, movements of people and the effects of globalisation. It highlights the efforts to safeguard ICH in Singapore through partnerships between government agencies, educational institutions and the community.

The Ramanarpanam Trust established the DRIK Foundation, a value-based learning center for Indian Art and Culture, and innumerable learning and education platforms for the children and youth of oppressed and exploited communities. DRIK and DWARAKA were formed to protect the socio-economic and cultural heritage and values of rural India. All the above organizations together have launched the DRIK DWARAKA ACADEMY, integrating rights learning with community change, skill development, livelihood generation and leadership development among children, youth, and women. DRIK JEEVANOTSAVA, a cultural empowerment movement, has spread the message of human rights, values, peace, and leadership through its activities. Together with AVAS (Association for Voluntary Action and Services), this cultural network has taken root to revive traditions and heritage, giving livelihood options and rejuvenating old folk forms of songs, dances, storytelling, puppet shows and much more towards transforming communities.

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.

Water management has long been the most necessary agricultural activity for Korean farmers, who typically make their living through rice cultivation. This is why if rain is scarce \nor water management is wrong, it can ruin farming for the year and farmers will struggle to provide for themselves and their families. Whether the practices are traditional or modern, \nagriculture is fundamentally dependent on nature. Therefore, people prayed for rain to the gods who they believed were in the sky or the sea to prevent drought in rites that were common in Korea. While they still rely on nature, farmers have always sought to increase their resilience in the face of natural disasters by continuously innovating with irrigation solutions suitable for the local environment. This chapter introduces two types of irrigation \nfacilities that are typical examples of the water-management system in rice-farming areas from the perspective of traditional knowledge.

"I would first like to thank the International Information and Networking Centre for Intangible Cultural Heritage in the Asia-Pacific Region under the auspices of UNESCO for its excellent initiative in organising this meeting regarding the notion of sustainable development in relation to intangible cultural heritage. I have known Korea for more than thirty years now. I have always been impressed by the way in which your country manages to reconcile tradition and modernity, how, in respect of its heritage and its roots, it has preserved its traditional forms of expression and assured their development while promoting contemporary creation that is indissociably linked to the specificities of Korean culture. That’s why I have always cited Korea as an example to be followed and respected. And for this reason, over the past four decades, I have worked to make the intangible cultural heritage of Korea better known in France. Thanks to the support of Professor Kim Jeong Ok and the directors of the Korean Cultural Center in Paris, I have presented to French audiences, since 1974, several dozen performances such as Bongsan Mask Dance, Pansori, Sungmu, Salp’uri, Ssikkim Kut, Son Mu, Court Dances, Gagok, Samul Nori, different types of puppet and theatre performances, and so many others, offering a better understanding of the culture of your country to audiences who had been unaware of its richness. In this keynote speech, I will simply touch on a few issues that, I am sure, "

The Indonesian National Pewayangan / Puppetry Secretariat (SENA WANGI) is a social and cultural organization established on 12 August 1975, and it is currently located in Jakarta. The organization’s basic tasks involve coordinating activities for conserve and develop wayang and the art of puppet performances in Indonesia.

Information is considered a safeguarding measure in the 2003 UNESCO Convention. The word ‘information’ is found several times in the text of the 2003 Convention. States Parties are required to provide information regarding programmes of inventory of ICH in their territories1. States Parties to the Convention are required to endeavour, by all appropriate means, to ‘ensure recognition of, respect for, and enhancement of the intangible cultural heritage in society, in particular through: …educational, awareness-raising and information programmes, aimed at the general public, in particular young people’.2 Educational, information, and awareness-raising programmes are herein identified as tools for ensuring the recognition of, respect for, and enhancement of ICH in society to be directed towards the general public, in particularly young people. That the younger generation be able to access information on ICH is essential to ensure ICH transmission for the ongoing safeguarding of ICH. This reference highlights the relation between information programmes and awareness-raising and educational programmes. Obviously awareness raising or educational programmes cannot be carried out without materials based on appropriate information on ICH.

Ikat making in Uzbekistan is an ancient type of applied art. The history of Ikat atlas and adras making technologies in the territory of Uzbekistan dates to the late antique period. Historically, Margilan, as the heart of the Fergana Valley, was the birthplace of advanced silk craftsmanship of Central Asia and the center for making atlas and adras—vivid and fine traditional fabrics.

Today, it is generally acknowledged that indigenous culture and knowledge around the world is under threat by globalization, rights infringement and violation, and other effects of modernization, including the general lack of respect for traditional culture and the individuals or communities through which that culture is manifested.

The culture in the East Coast of Malay Peninsula are rich in visual and performing arts inherited over time immemorial. The art is also found to have similarities in three different states, despite their geographical gap. The similarities are shared in dialects, languages, presentations, builds, and past legacy artifacts. The Malay craftsmanship is also dominated by the Malay community in the East Coast and it is also produced in the form of art and fashion. Artifacts such as boats, houses, and furniture are still visible until now and they have high artistic value. This paper is aimed at displaying the various type of Malay traditional boats and symbols produced by the Malay community on the craft of the boat. There are several name of the boats produced by local craftsmen based on their function and usability. For example, a small line boat is used in river and coastal areas, the payang boat used by deep-sea fishermen, and the jokong boat is used to transport heavy goods. The art can be seen in the carvings and paintings produced on traditional Malay boats craftsmen in the East Coast. This art does not only serve as an ornament and for its aesthetics, but also has its own symbolism. The decorative art produced shows that the three main aspects necessary in Malay art are function, aesthetics, and ethics. The belief in the existence of supernatural powers – which preserve and safeguard their safety at sea and their ability to get income from marine products – underpins the craft of this decoration art.