The ger, a traditional dwelling created by nomadic Mongolians, is specifically designed to fit their way of life. Its semi- sphere shape helps the ger endure storms and tempests. It has solutions for heat control and ventilation. It is flexible in terms of size and design, and it is portable and lightweight. At the same time, it is also comfortable to live in and easy to build and dismantle. Moreover, the ger is used as a measure for time and directions.

The geography of Korea is ideal for growing lacquer trees. Optimal climate, topography, and soil conditions can be found across the country, and the lacquer produced is of the highest quality. This led to lacquerware crafts being highly valued in Korea over the years, and a uniquely Korean culture of lacquerware being developed.

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

Dong ho woodblock printing originated in Dong Ho Village, Song Ho Commune, Thuan Thanh District, Bac Ninh Province, about 35 km east of Hanoi. The colors, color processing, printing paper, woodblock carving, and manual printing techniques, as well as the skills of craftspeople give dong ho woodblock printing its famous “naïve soul.” Printing colors, paper, and woodblocks are handcrafted from natural materials. Each color is printed on a separate woodblock, so the number of woodblocks used depends on the number of colors needed. In a multicolor print, craftsmen print colors in the following order: red, green, white, yellow, and finally black. After applying each color, craftsmen hang paintings to dry before printing another color.

The Yakan is one of the major ethnolinguistic groups of the Philippines. Among the Yakan of Basilan in Mindanao, Philippines, instrumental music is given much importance. For instance, the kwintangan, an instrument of five to seven bossed gongs laid in a row, are used for courtship and celebrations.

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.

Homegardens are traditional systems that combine agriculture, forestry, and livestock and provide economic, environmental, and social benefits for the householders. These agroforestry systems are often cited as the epitome of sustainability, yet the scientific community has long ignored them. Today, however, these age-old systems are receiving increasing attention owing to their potential to mitigate environmental problems such as reduced biodiversity and rising levels of carbon dioxide while providing economic gains and nutritional security to their owners.

The Philippines, in the tropical waters of the South China Sea at the western edge of the Pacific Ocean, is dry from January to May and rain-swept for the rest of the year, especially during the monsoon months of June to September. The archipelagic country is vulnerable to climatic changes. The balmy ocean air becomes searing heat of 40 degrees Celsius in summer, and the monsoon rains extend in duration with increased volume.

Tugging rituals and games survived in Ukraine from different epochs, keeping a deep ethnological sense and didactic use. Through decades and centuries, tugging traditions, which later formed the basis of different sport competitions and educational exercises related to tugging, have been modified, reflecting changed environments and social demands. As a rule, they constituted an important part of rural street (open-air) life and entertainment as well as public festivals associated with calendar or religious holidays, like Kolodiy, Masliana, and Stritennia (Pancake Week, Shrovetide, and Candlemas Day, respec-tively) and Midsummer Day, Christmas, Easter holidays. A lot of popular customs from pre-Christian (pagan) times passed to the Christian holidays and have continued until now. Obviously, as a recognized researcher of folk life, V. Skurativsky, wrote, the ethnographic term “street” to mean the ancient traditional form of youth entertain-ment that originated from the places of young people’s meetings.

When it comes to the preservation of intangible cultural heritage (ICH), threats that lead to the loss of the viability of one or another element of ICH are latently implied. From a social anthropological point of view, this is a question of the interaction between tradition and innovation: do new technologies always negatively affect traditional art? How does modern everyday life affect the sustainability of a traditional view of the world that underlies the identity of each element of ICH?\n

"BeezBistar Foundation (BBF), a community action-based non-governmental organization, was formed in 2009 by development workers and researchers. “BeezBistar” means prosperity in life and peaceful and joyful relations between human beings and all other life-forms. BBF works with local communities, especially farmers, weavers, fishers, adivashi, dalit, and other marginalized and socially vulnerable people for a prosperous and healthy life. Its guiding ethical principles are non-discrimination on the grounds of caste, race, class, and gender. BBF believes in people’s capacity to transform their existing situation of poverty and become pros- perous through a mediated process of interdependent, collective, and community support and actions. The notion of BEEZ is grounded in the local and indigenous culture of the peoples of Bangladesh, as well as advanced by science and life-affirming knowledge and technologies."

The life of the Bauls of Bangladesh revolves around body-centric ascetic practice termed sadhana. Bauls believe in the co-existence of every element of the endless Brahmanda, meaning universe in the human body. Thus, they make caring for the body their highest priority over anything else. They have created extensive verse about body-centric sadhana codes that they transmit through song. The verses or songs include descriptions of control over the consumption of daily necessaries, mainly food. And, they believe in the doctrine মানুষ যা খায়, সে তাই (a human is what he or she consumes). They also judge food as medicine, as the need to live a hale and hearty.