Folkland, International Centre for Folklore and Culture is an institution that was first registered on December 20, 1989 under the Societies Registration Act of 1860, vide No. 406/89. Over the last 16 years, it has passed through various stages of growth, especially in the fields of performance, production, documentation, and research, besides the preservation of folk art and culture.Since its inception in 1989, Folkland has passed through various phases of growth into a cultural organization with a global presence. As stated above, Folkland has delved deep into the fields of stage performance, production, documentation, and research, besides the preservation of folk art and culture. It has strived hard and treads the untrodden path with a clear motto of preservation and inculcation of old folk and cultural values in our society. Folkland has a veritable collection of folk songs, folk art forms, riddles, fables, myths, etc. that are on the verge of extinction. This collection has been recorded and archived well for scholastic endeavors and posterity. As such, Folkland defines itself as follows

The China National Silk Museum (CNSM) first opened in February 1992 and reopened in September 2016. Now it has become one of the first state-level museums in China, where audiences will find 9,000 square meters of displays in a typical southern Chinese garden of 42,286 square meters near West Lake, a UNESCO World Heritage Site.

Folkland, International Centre for Folklore and Culture is an institution that was first registered on December 20, 1989 under the Societies Registration Act of 1860, vide No. 406/89. Over the last 16 years, it has passed through various stages of growth, especially in the fields of performance, production, documentation, and research, besides the preservation of folk art and culture.

The shrinking of the Aral Sea has been named “perhaps the biggest ecological disaster of our time,” one showing that “humans can destroy the planet” (Guterres, 2017), and “one of the planet’s most shocking disasters” (Ban, 2010). The shrinking has had significant negative consequences on all aspects of life in Central Asia, including the ecosystem, public health, and the economy. I have personally witnessed the dramatic changes in the region, and the tragic consequences it has had on the local community. Thus, my awareness of this ecological disaster and the suffering of the region’s people comes not solely from news outlets, articles, books, documentaries, and other related materials, but also from my personal experience of \nvisiting the site and talking with the local people.

Long known as the cradle of civilization, the area that bounds from the fertile valleys of Al-Hasakeh, across the ancient deserts of Palmyra, and westward to the Mediterranean Sea, includes present-day Syria. Due to the vastness of the region, it is no wonder that Syrian cuisine boasts a rich culinary heritage dened by exceptional diversity and human creativity.

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

Torn apart by decades of conflict, post-2003 Afghanistan was on the brink of an economic, social, and cultural collapse. Besides the much-mediatized shelling of the country’s material heritage, such as the Buddhas of Bamiyan, Afghanistan’s intangible heritage equally took an untold toll. In addition to various practices that had been directly targeted and proscribed (such as making the rubab, a short-necked lute), a general weakening of the national economy, disruption of raw material procurement networks, and an overall destruction of the social fabric put a majority of Afghanistan’s heritage at risk. Particularly threatened were its craftsmen, the stewards of woodcarving, goldsmithing, or miniature techniques, skills firmly rooted in more than 3,000 years of artistic traditions and defining features of many of the country’s communities.

Telugu language is the mother tongue for carriers and transmitters in safeguarding the Intangible Heritage of the Telugu people. We have come up with an interdisciplinary and innovative educational programming that safeguards our intangible heritage of over 53.6 million people in Andhra Pradesh (AP). Our higher educational programming cuts across the five domains delineated in the 2003 ICH Convention of UNESCO. It is an integral part of a systematic safeguarding plan that is unique. I will introduce the framework that enables us to bring together the teaching of intangible heritage in a linguistic environment through six tertiary educational institutions for the Telugu speaking people. I am responsible for the curricula, pedagogy, employment of carriers and transmitters as teachers and performance education in all the six colleges. \n\nWe also address the interface between intangible heritage and language through higher education. Moreover, I will also reflect on my own engagement as a carrier and transmitter of theatre traditions of the Telugu people. My conclusion would advocate that we need to think in new and innovative ways for safeguarding the rich diversity of the intangible heritage of humanity. Our innovative tertiary education programming provides a feasible role model.

Uzbek craftsmanship is one of the most significant parts of the creative cultural industry, contributing to sustainable economic and social development of society. Uzbek craftsmanship has not only historical and functional significance but also great artistic value. It has been attracting the attention of travelers and scholars for centuries. During the years of independence, since 1991, the handicrafts industry has undergone significant transformation. Today, it ranks high among the export-oriented creative industries of the national economy. Handicraft is an essential domain of intangible cultural heritage of humanity and plays key role in promoting creative economic development.

Moderator to Helena Norberg-Hodge: You have emphasized a new order and a way of life and the need to promote localization to escape from globalization and cultural uniformity. In my opinion, this localization can be carried out more easily in the post-CORONA era; what do you think? And this is the second question, in the post-CORONA era, is there a need to change the direction or strategy of the localization movement? If so, what would it be? People nowadays talk about new normal, so please also tell us about the post-CORONA era localization.

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.

Intangible cultural heritage (ICH) provides a continuous link between the past, present and future. Every country flourishes with distinct ICH elements which needed to be safeguarded and transmitted from one generation to another. Weaving is one of the ICH elements that has thrived and intertwined knowledge systems, creativities, customs and belief systems of different cultures around the world. Communities identify their cultures through their traditional costumes which were handwoven using ancient weaving techniques.