The Kurava community migrated from Tamil Nadu and settled along the banks of the Nila River where they followed mat weaving traditions for many generations. Unfortunately, because of low financial returns and scarce raw materials, the community to lost interest in traditional weaving, leaving only one practitioner, Mr. U. Chami, who took the tradition forward for many years through the Killimangalam Weaving Cooperative Society. However, due to ill health at the age of 72, Chami left weaving behind. But before retiring, he taught traditional weaving skills to a non-native Kurava—Mrs. P. Prabhavathi. Today, Prabhavathi still holds Chami in high regard for his initiatives to train interested people, even those from outside the community. This willingness to train others laid foundation for the craft’s survival. For his efforts, Chami was recognized with the Master Craftsman Award by the Textile Ministry of India in 1992.

The Ban Narasilp (or Narasilp House) community in Wat Suntorn Thammatarn (or Wat Kae Nang Lerng) on Larn Luang Street is a descendant of the Khon-lakorn troupe called the Narasilp troupe. The Narasilp troupe has been transmitting Khon performing arts and craftsmanship for many generations. This area has been home to many classical Thai dance and drama troupes since the early Rattanakosin period of the late-eighteenth century.\nOn 14 June 2018, the Department of Cultural Promotion, Ministry of Culture, awarded the Ban Narasilp descendants and officially opened the Ban Narasilp on Larn Luang Street as a community learning center for learning to make and embroider Khon costumes to maintain continuity and the significance of Khon as a national intangible cultural heritage. In addition, the descendants have been supported with a budget for the training workshop to train a new generation of young artisans in classical Khon and Thai drama costume to safeguard this fine art for humanity.

Ms. Gulnara Ibragimova is the manager of the “International Education Center” at the Educational Complex “Ilim” a UNESCO Associated School. She is also the focal point for the UNESCO Associated Schools Network in Kyrgyzstan.\n\nEducational Complex “Ilim” was established in 1993 and has a long institutional history. Since 1995, it is part of the UNESCO Network of Associated Schools (ASPpnet). Currently, it coordinates the network activities in Kyrgyzstan among its 15 members. The Complex itself includes primary, secondary and high schools as well as kindergarten.\n\nThe school aims to ensure that students have a full conceptual understanding of the subjects they study and helps them to develop new skills that can be applied in real life. Since “Ilim” joined the ASPnet schools Network it also became a key promoter of UNESCO values in the country. It implements multidisciplinary projects related to intercultural learning, human rights, sustainable development, etc.\n\nGulnara is responsible for maintaining international communications, implementing supplementary education programs, and cultural exchanges, and developing academic mobility - attracting foreign teachers, with the aim of convergence educational standards, improving the quality of education as well as the organization and implementing of international cooperation projects with UNESCO. She is also responsible for maintaining contacts with the National Commission of the Kyrgyz Republic for UNESCO in the realization of joint activities and reporting.\n\nIn 2020-2021 she has supported a pilot project of UNESCO “Integrating the Living Heritage into Education in Asia and the Pacific Region” in Kyrgyzstan, by identifying schools for the project and monitoring their work progress. \n\nFrom 2013 to the present, she is also the director of the “Koldo Shop” Public Foundation, which work is aimed at supporting people from socially vulnerable segments of the population, and these are people with disabilities, single mothers, pensioners, and large families with financial difficulties. The Foundation created a trading and educational platform for artisans from this target audience. \n\n

Mr Mazuki Bin Tambi has been appointed as President of (MACPA) Since 2010 -2021 at the national level , In 2018 he become a Heritage and arts expert for the Department of National heritage Malaysia.\nCurrently he is a Board members of the Ministry of Tourism Arts and Culture Sarawak Malaysia. \nMazuki has been very much involved in artistic development in art and culture in Malaysia, especially on performing art,research,strategic planning for government of Sarawak.\nOn the international scene, he has been involved with (ichchap) Republic of Korea 2017-2021 on South east Asia video production (2017- 2018),Book Publication (2019-2021) . Produce Hang Tuah documentary for Asia Culture Centre Republic of Korea. ‘Memory of the World” catogery. \nHe representing Malaysia,for permenant membres \norganization with Qatar (2020) GPDNET network.

Mr Yeo Kirk Siang is currently the Director of the Heritage Research and Assessment Division (HRA) at the National Heritage Board (NHB) of Singapore. The division focuses on the research, documentation and commemoration of Singapore’s tangible heritage and the safeguarding of intangible cultural heritage, in partnership with non-government organisations and public agencies. He is also the coordinator for the “Our SG Heritage Plan”, which outlines the broad strategies for the five years of Singapore’s heritage sector (2018 to 2022). Kirk Siang is currently a member of the Evaluation Body established under the UNESCO 2003 Convention for the Safeguarding of ICH for the period of 2021 to 2024.

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.

The Indonesian Heritage Network—Jaringan Kota Pusaka Indonesia (JKPI)—is a good example of networking among local governments for safeguarding ICH.\nThe Indonesian Heritage Cities Network is an inter-local government organization (not an NGO) that coordinates on a national level among cities and districts possessing varieties of natural and/or cultural heritage (tangible and intangible). JKPI aims to jointly safeguard natural and cultural heritage including ICH. JKPI was declared on 25 October 2008 in Surakarta City by twelve cities. One of the mayors who declared the establishment of JKPI was Ir. Joko Widodo, then Mayor of Surakarta and host of the meeting, (presently 7th President of the Republic of Indonesia.) As of the seventh National Working Meeting Karangasem, Bali in June 2019, JKPI has seventy member cities and districts. The objectives of JKPI are:n• To develop collaboration amongst cities (and districts) having important natural and cultural heritagen• To develop collaboration for safeguarding heritage with stakeholdersn• To promote a role of communities in safeguarding heritage and its positive development in social lifen• To inventory the wealth of the heritage of the member cities/districts of JKPIn• To develop an understanding of the diverse nature and culture to strengthen the Unified State of the Republic of Indonesian• To be used as a vehicle for promoting existing heritage for JKPI member cities/districts3nJKPI is a non-profit and independent organization, and is not intended to advance the interests of, or be affiliated with, any group or political party.

Kalamandir Saksham SHG Federation is run by artisans and is a registered society. It has been promoted to market and sale artifacts, paintings etc through a unique showroom at heart of the city of Jamshedpur. It is a place where every tourist, educationist and corporate executives visit. It is a self sustained enterprise being run since 2007 under the guidance of 117 active artisan members. Kalamandir is an organisation that believes in preserving and restoring tribal art and culture. Kalamandir is engaged in nurturing a sense of aesthetics about tribal art among individuals, communities, organisations and social groups. The target groups of Kalamandir are tribal artisans/ artists/ women and youth. All these groups are deprived and have no voice or any kind of social or political platform. The multi-cultural, multi-lingual vibrancy of tribal communities residing in the state of Jharkhand is being eroded due to mining, deforestation, lack of political will, corruption and administrative apathy.\nKalamandir operates with a vision to foster necessity and accessibility of arts and aesthetics in our day to day social life. We are engaged in constantly supporting, nurturing and disseminating the finer aesthetic sense among individuals, communities, organisation s and social groups. Countering the mono culture, we look for a creative, dynamic and diversified environment for the young minds among tribes and non-tribes of Jharkhand - who are full of finer senses.

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.\nThe museum is divided into several galleries. The first is the Silk Road Gallery, in which the permanent exhibition The Way of Chinese Silk: Silk History and the Silk Road introduces Chinese silk historically and the Silk Road geometrically. Both the earliest preserved silk from the Qianshanyang site, Huzhou, (c.2200 BCE) and the earliest pattern loom model from Laoguanshan, Chengdu, (c.100 BCE) are on display. In the underground of the Silk Road Gallery, the Textile Training Center offers professional courses related to weaving, dyeing, embroidering, and braiding to satisfy the demand of the people who love traditional textile culture and those who wish to inherit traditional skills.\nOn 28 September 2009, Sericulture and Silk Craftsmanship of China was added to the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO. To help the audience better understand the intangible cultural heritage, the Sericulture and Weaving Galleries provides more information on how the silk is made. There are five sections of the exhibition, which are The Story of the Silkworm, Folk Customs in the Birthplace of Sericulture, Silk-making Techniques, Textile Printing, Dyeing and Embroidery and Weaving Techniques, displaying more than 270 objects covering the whole process from planting mulberry trees, raising silkworms, releasing silk from cocoons, dyeing, weaving, and embroidery. The techniques in the exhibition combine static displays with live demonstration.