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

This paper presents UNESCO’s approaches and activities under two functions: 1) the standard‐setting function, which is mostly carried out at headquarters level through intergovernmental committees and in close collaboration with Member States; and 2) the “laboratory of ideas” function, which is implemented at the national level by UNESCO field offices. Capacity building, at both the institutional and individual levels, is a major focus that is integrated throughout all our work.

We all need space to fully immerse ourselves in our work, whether it’s an office, a research lab, a café, or a transmission space. Only when we have secured an area in which we can focus on work, we produce a high quality of work. To this end, we select such spaces by ranking them according to criteria such as the floating population, demand, rent, condition, and infrastructure. An artist I know established a studio in the vicinity of Hongik University in Seoul, since it is a bustling downtown area with a large floating population of people involved in art and culture. One pottery artist launched a workshop in Icheon, Gyeonggi Province, since Icheon has close historic ties with pottery to the point that there is a village consisting entirely of pottery workshops and factories. The space in which a person takes root for months—or even decades—can reveal much about their life and personality, while allowing visitors to discern what they are about to see. That is the true power of a space.

The 2003 Convention plays a major role in safeguarding the Intangible Cultural Heritage. It is the first international legal instrument that has focused on the traditional elements of life. To date, more than 508 elements of more than 122 countries have been registered in the UNESCO nomination list of Intangible Cultural Heritage. The number has been increasing every year. It validates the value of the Intangible Cultural Heritage to the world. The Republic of Korea, which has more than fifty years of history in Intangible cultural heritage preservation, is one of the leading countries in the Intangible Cultural Heritage Preservation. This paper has intended to study one of the UNESCO nominated ICH elements of traditional dance performances i.e. Ganggangsullae of Korea and see the impacts after its nomination. Ganggangsullae has been successfully safeguarded in Korea. Its inclusion in the education curriculum has made it possible to disseminate its historical significance and values to the younger generation. Despite the effort of the state, Ganggangsullae seems to lack the interest of the people. It is an important issue to understand the reasons and find ways to revive its essence rather than being confined to the documents.

The small sun-soaked village of Molela, located approximately fifteen to twenty kilometers from the city of Udaipur in Rajasthan, is home to a vibrant community of terracotta clay artists. Over the years, Molela has emerged as a focal point in the art of making attractive votive plaques or idols of gods, with terracotta. While the early creations were originally cast as standing idols of local deities and various forms of the Hindu god Vishnu, today these figures are often mounted on tiles or plaques and are hung from the walls of homes and temples. These votive figurines can be multicolored or can have a terracotta hue, as is represented in the various temples in Rajasthan and Gujarat.