Angkor in Cambodia is a World Heritage Site (inscribed on the World Heritage List in 1992) renowned for its archaeological and architectural significance. It contains artistic masterpieces of Khmer sculpture and design and is known for its regional influence of Khmer art. The tangible heritage aspects of Angkor have received global recognition and have been the focus of remarkable international conservation and restoration efforts in recent decades. Angkor, however, is also the site of lesser-known, yet unique, forms of intangible heritage, many of which have links to the Angkorian and pre-Angkorian periods. Over the past four years I have researched the intangible heritage of Angkor and potential mechanisms for its safeguarding. Many of the forms of intangible cultural heritage researched are intricately associated with the daily activities of people who live around the monuments of Angkor. These activities are related to the belief system of local Khmer and are often deeply intermingled with Buddhist and animistic values as well as familial and agricultural knowledge.

Since Korea has undergone the fierce contemporary history through the Japanese colonial era and the Korean War, the Korean government enacted the Cultural Heritage Protection Act in 1962 for safeguarding and transmitting Korean cultural heritage. In this act, the term intangible cultural heritage (ICH) was officially coined as a legal concept, and provisions were prepared to designate and safeguard ICH at the national level. Thus, the Korean legal system for safeguarding ICH was established forty years before the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003).

Nowadays, tug-of-war has become a popular traditional game and loved by many communities in Vietnam. Both children and adults love playing this game since it doesn’t require many particular skills or training and doesn’t limit the number of participants. Tug-of-war today is played in dif-ferent cultural and social events in youth camps, student gatherings, and traditional festivals as well as during Tet Lunar New Year celebration in Vietnam. In a traditional tug-of-war game, players are divided into two teams and stand opposite along a string (normally a bamboo cord or a jute rope). A red piece of cloth marks the middle of the cord, which is positioned parallel to a line drawn on the ground that separates the two teams. After a signal (either a whistle or a hand signal) from the referee, players tug the cord as hard as possible to pull the red cloth towards their side. For every match, both teams receive great cheer from surrounding spectators.

Phú Thọ - a midland province in northern Vietnam, is about 100 kilometres northwest of Hanoi where the sacred mountain Nghĩa Lĩnh also known as mountain Hùng exists. On Nghĩa Lĩnh mountain, there are Lower (Hạ), Middle (Trung) and Upper (Thượng) temples together with legends about 18 Hùng Kings of the Vietnamese people. Around Nghĩa Lĩnh mountain, there are hundreds of temples, communal houses and shrines located in villages and communes, which forms a religious space to worship Hùng Kings.

The Masion des Cultures du Monde (World Cultures Institute) The Maison des Cultures du Monde (“World Cultures Institute”), has been founded in 1982 in Paris by Chérif Khaznadar and Françoise Gründ with the support of the French ministry of Culture. Its goals, the promotion and the enhancement of world performing arts - as witnesses of human inventiveness, \n\n- as landmarks of a historical continuity - as factors of cultural diversity \n- as sources of inspiration and creative renewal. Its method: the on-stage presentation of musical, dramatic, choreographic and ritual expressions from all over the world and mostly unknown to the French public. Since the creation of the United Nations, a new vision emerged that international solidarity should be based on the knowledge of other cultures and on a “dialogue of cultures”. In France several initiatives were conducted such as : - the Theatre of Nations with the support of UNESCO\n- foreign cultural seasons such as the Year of India, the Year of China, the Year of Korea, the Year of Vietnam etc. \n- a Traditional Arts Festival which promoted world traditional arts in a spirit of open-mindedness, awareness raising, aesthetic pleasure and cultural enrichment.

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.

On this beautiful day of the harvesting season in autumn, when hundreds of fruits and grains are ripening and trees in the mountains and fields are tinging maple colours, I am very delighted and filled with the feeling of great honor that our Centre of UNESCO for Intangible Cultural Heritage in the Asia and Pacific Region (ICHCAP) is privileged to host this year International Conference on Safeguarding ICH to reflect on the creative values and productive utility of our intangible heritage that our forefathers have inherited to us.

Mandalay, Myanmar’s second largest city and the last stronghold of the ancient Burmese kings, has been considered the country’s cradle of traditional arts and crafts. Shwe chi hto or golden embroidery has been one of the most famous crafts in Mandalay especially during the monarchy period when gold and silver tapestries adorned the kings, queens, ministers, and all the members of the higher class in society.

Intangible cultural heritage is a culmination of insight and wisdom for life. Intangible cultural heritage that has been passed down over the years affect our value systems in the present. It is also likely that this will continue in the future given a similar environment. Thus the transmission of intangible cultural heritage as the spiritual source behind tangible heritage is important. Intangible cultural heritage allows us to understand the past, find wisdom for the present, and predict the future. We can learn about the values, social consciousness and worldview that people held in the past through intangible cultural heritage. This then becomes a tool to understand the people of the present and predict the future based on the past. Thus, as the history of humanity progresses, the greater the need becomes to analyze the cultural elements accumulated in tradition. As people in modern society face the pressures of urbanization, industrialization and intense competition, intangible cultural heritage provides the spiritual comfort of a homecoming by reviving the nation’s cultural memory.

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.

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

Marriage in a Bhutanese context is a social event that encompasses several Buddhist rituals; it does not end simply with exchanging vows and rings and kissing the bride. The centuries-old traditions in Bhutanese marriage ceremonies are much richer and involved; however, despite this, these traditions have been disappearing over the years.