Kusunda is one of the former hunter-gatherers of western Nepal. Currently, no single person of the tribe is living in the jungle. Due to lack of marriageable population, Kusunda started marrying people from the villages and gradually settled in villages. nGyani Maiya Sen, 92, is one of the last speakers of the Kusunda language. She is also the last surviving member of the tribe who until nine years of age lived with her parents in the jungle. Currently, Gyani Maiya lives with her grandchildren in a house in Lamahi, Dang. She often teaches Kusunda among children and enthusiasts. Gyani Maiya fears that the Kusunda language will be lost along with her.

Yohor, a singing round dance of the Buryat ethnic group in Mongolia, the Buryat Republic of the Russian Federation, and the People’s Republic of China (Shineheen Buryats), is a complex synchronized expression of poetry, melody, and movement. Yohor is performed in the traditional manner with vocal singing and the modern way with playback music. Elders generally opt for the traditional way and have rich repertoire on Yohor songs. They say that the old way of singing is very important in the traditional way of dancing Yohor and that song can also affect the way of dancing.\nthe Yohor dance reflects a cultural uniqueness and a unity of Buryat people in three countries. Separated because of a long history and complicated political situations, Buryat people’s culture, tradition, and language changed. The Buryat language, an official dialect of Mongolian, has already been included in the category of severely endangered languages by the 2010 UNESCO Interactive Atlas of the World’s Languages in Danger. With this language loss, the number of elders who know the song narratives and old Yohor song repertoire are decreasing, and this brings the Yohor dance under the risk of disappearance as its complexity of song and movements but also of language. The annual and biennial cultural festivals, such as Altargana, Yohor, Night Yohor, and Global Yohor, show how Buryats have been trying to revive the traditional culture and art for long time. Even though, the collective memory and living experience of Buryat people is under the risk of disappearance due to rapid modernization and globalization with language loss.

Saba Samee has a Masters in the Archaeology of Buildings from the University of York, UK. Her undergraduate degree is in B. Architecture from the National College of Arts, Lahore. She is currently employed at the Institute for Art and Culture – IAC, Lahore, where she serves as an Associate Professor and Coordinator for the School of Culture and Language. \n\nShe has received numerous trainings with UNESCO, ICCROM and UNITAR in conservation, heritage management and WHS nominations. As part of THAAP team, she has worked extensively in projects awarded by UNESCO, UKAID, MEDA-USAID, Norway and Dutch funding agencies, gaining experience in conservation and mapping built heritage. She is experienced in working on conserving the WHS sites of Lahore Fort and Makli, as part of the Heritage Foundation of Pakistan team. Internationally, she has acquired conservation experience in Spain as part of the DIADRASIS team. As part of the IAC Research team, she has conducted diverse research initiatives, such as projects regarding development through culture, poverty alleviation and community empowerment through cultural and creative industries, and plans regarding integrated heritage site management. \n\nMs. Samee has presented research papers in diverse national and international conferences and is a published author of a number of research papers, book chapters, and articles. Her research interest focuses on the relationship and values of People associated with their Places.

Aibek Baiymbetov graduated from the Kyrgyz National University named after Jusup Balasagyn with a Master's degree in International Relations. He also studied at the University of Tsukuba in Japan as an exchange researcher. Besides, he studied the Chinese language and oriental culture in Guangzhou, China. \n\nAibek Baiymbetov has been working in the field of cultural heritage and journalism for more than 10 years, with a focus on safeguarding the intangible cultural heritage, popularizing the traditional knowledge and practices of nomadic culture, as well as creating a value-oriented, modern creative network in the field of traditional music, journalism, animation, film, and theatre art. \n\nRecently, he has been actively working on preserving the biocultural diversity, adapting the cultural meanings to modern perception - through digital and creative products. Aibek Baiymbetov is a co-founder of the musical project "Kyrgyz Kairyk" which focuses on the safeguarding and popularisation of traditional music, he also acted as a consultant in several projects on the restoration and popularisation of Kyrgyz traditional art. \n\nHe took part in many research expeditionary initiatives to study the traditional culture of the indigenous people of the Tian Shan, Pamir, Himalayas, and Altai. He is a founder of the Public Fund "Peace Dialogue and Holistic Development", which has been working for more than 5 years in the field of safeguarding ICH, as well as creating a network of expert councils in the fields of climate, ecology, philosophy and traditional cultural and spiritual practices. He is an author of a short documentary anthology film "Man - Universe". At the moment, he is a researcher at the Department of Cultural Heritage and Humanities at the University of Central Asia. \n\nAibek Baiymbetov's academic and research interests lie in the area of the religious and cultural heritage of Kyrgyzstan/Central Asia - traditional Islam and traditional practices of the nomadic ideology. In the field of biocultural diversity and traditional cultures of indigenous people. Traditional art - Kyrgyz folklore, epic heritage and music. \n\nHe is the winner of the UNESCO 2021 “Silk Road Youth Research Grant” competition among the young researchers, as well as the winner of international and local film festivals in the field of documentary films about ICH. \n

The Fiji Museum is a museum in Suva, Fiji located in the capital city's botanical gardens, Thurston Gardens. The Museum holds a remarkable collection, which includes archaeological material dating back 3,700 years and cultural objects representing both Fiji’s indigenous inhabitants and the other communities that have settled in the island group over the past 200 years. The Museum is a statutory body governed by the Fiji Museum Act and the Preservation of Objects of Archaeological and Palaeontological Interest Act.\nIn 1908 the Fijian Society was formed with the specific aim of researching and preserving the country’s history and culture. The formation of a museum was included in this aim. In 1910 the government approved an annual grant of £25 to appoint a collection caretaker. With the passing of the Fiji Museum Ordinance in 1929, the museum was formally inaugurated as a Government Statutory Body with a Board of Trustees.\nThe collection remained on display in the Town Hall until 1919 when a substantial part of the hall was destroyed by fire. The collection was moved to a variety of venues until the government was persuaded by the Trustees to build a National Museum.\nThe current museum was opened in 1955 by the Governor of Fiji, Sir Ronald Garvey. This building was used to house the displays, reserve collection and provide storage. Today the building has two adjoining sections, the first constructed in 1972 and the second in 1978. Together, these buildings provide a history gallery, masi gallery, art gallery, Indo-Fijian gallery, temporary exhibition space, store rooms and gift shop. The archives, photographic studio, editing suite, library and administration offices are located in what was the Nawela Hostel for women, adjacent to the main museum building.

To provide artisans with the opportunity to realize their creative capacity, and to insure that craft traditions remained genuine cultural heritage, Judy Frater began a design education program for artisans in Kutch. In 2005, Kala Raksha Vidhyalaya opened its doors to artisan students: traditional weavers, ajrakh printers, bandhani artists, and embroiderers, with no further prerequisites of age or formal education.\nIn 2014, the year-long program evolved and expanded to Somaiya Kala Vidya. In six two-week intensive residential sessions spread over a year, artisan students learn to innovate within their traditions. nThe most innovative tool that we use in our design classes is simply to present problems to solve. We also draw on local traditions and teach as practically as possible. In effect, the design course re-imagines traditional systems in an appropriate contemporary form. Master artisan advisors teach students about traditions, as children once learned from elders; weavers, printers, and dyers learning together revitalizes the inherent interdependence in traditional textiles; and interface with urban markets reinvents direct contact with hereditary clients.\nAfter design education for artisans in Kutch reached its goals, Somaiya Kala Vidya is scaling out their approach to other regions. Keeping cultural heritage as the foundation, they intend to teach design within regions, drawing on local language and culture.

IAC highly values the traditional knowledge of our people and seeks to contemporize it with input from the latest technological knowledge. IAC believes in integration with community, building long term industrial linkages and National and International partnerships. This Liberal Arts education platform will not only impact the education sector in Pakistan but also reach out to the neighboring countries and contribute towards global scholarship. By incorporating a trilingual approach, which includes English, Urdu and their Mother Language, the students recognize culture and art education not as a foreign stimulus but the one they are inherently connected with.

Khamir was established in 2005 as a joint initiative of Kachchh Nav Nirman Abhiyan and the Nehru Foundation for Development to strengthen and promote the rich artisanal traditions of Kachchh district. The name ‘Khamir’ means ‘intrinsic pride’ in local language and it stands for Kachchh Heritage, Art, Music, Information and Resources. The organizational aim is to provide a platform for the promotion of traditional handicrafts and allied cultural practices, the processes involved in their creation, and the preservation of culture, community and local environments. Also a common roof of a democratic and empowering space has been created, where a range of stakeholders can exchange their ideas and collaborate. The organization works on shift consumer perspectives and raises the cultural value placed on crafts to establish a vibrant, sustainable Indian craft sector in which crafts and artisans alike are highly valued by people worldwide.