Turquoise Mountain was founded in 2006 by HRH The Prince of Wales to revive historic areas and traditional crafts, to provide jobs, skills and a renewed sense of pride. Since 2006, Turquoise Mountain has restored over 150 historic buildings, trained over 6,000 artisans, treated almost 136,000 patients at our Kabul clinic, and supported and generated over $15.5 million in sales of traditional crafts to international clients, including Kate Spade and London’s Connaught Hotel. Turquoise Mountain has also curated major international exhibitions at museums around the world, from the Museum of Islamic Art in Doha to the Smithsonian Museum in Washington D.C. Turquoise Mountain has now built over 50 small businesses in Afghanistan, Myanmar, and the Middle East, supporting a new generation of artisan entrepreneurs who will not only drive economic development, but also preserve their unique cultures and traditions.

Republican cultural institutions established on the basis of the organization, which has been operating since 1936, first in the form of the House of Folk Art, then the Republican Scientific and Methodological Center of Folk Art and Cultural Enlightenment, by the Decree of the President of the Republic of Uzbekistan dated February 15, 2017.\nThe scientific-methodical center for the organization of activities is a state institution under the Ministry of Culture of the Republic of Uzbekistan, whose main task is to comprehensively study the problems of public administration in cultural and art institutions operating in all regions of the country, as well as in the field of culture. to assist in the full implementation of state policy, to ensure active cooperation with public administration and local authorities, to preserve and develop the rich traditions and achievements of our national art, to promote theater, museums, library, creative associations, culture to raise the status of recreation and recreation parks, cultural and recreational centers and concert venues, to submit to the Ministry analytical and critical presentations on the activities of cultural and artistic institutions and to further develop and strengthen their material and technical base further development of creative work carried out by cultural institutions within the framework of its rights and obligations through the development of the necessary recommendations, the formation of a system of training and retraining in accordance with modern requirements and scientific and methodological activities.

\nThe Finnish Folk Music Institute Is a Centre for the Research and Presentation of Finnish Folk Music and Dance. Its premises are in the Folk Art Centre at Kaustinen, Central Ostrobothnia. The extensive archive and reference library are accessible for any user. The material consists of audio and video recordings, photos, literature and a newspaper clipping collection of over 100 000 pieces.\nThe Folk Music Institute is also a significant publisher: the album collection features archive collections as well as contemporary folk music, and the range of books consists of sheet music and scientific publication from the field of folk music and tradition.\nFinnish Folk Music Institute supports Finnish folk music and folk dance communities in safeguarding their intangible cultural heritage by: documenting living folk music and dance traditions; publishing recordings, books and notes on Finnish folk music, educating children in folk music and ICH; educating academic folk music students, advancing research of folk music and dance; participating in organizing the biggest folk music and dance festival in Finland; networking nationally and internationally with other folk music and heritage organizations; and promoting the interests of folk music and ICH in national cultural politic.

Taman Mini "Indonesia Indah" (TMII) ("Beautiful Indonesia" Miniature Park) is a culture-based recreational area located in East Jakarta, Indonesia. It is operated by Yayasan Harapan Kita, a foundation established by Siti Hartinah, the first lady during most of the New Order and wife of Suharto, and still run by Suharto's descendants since his death. It has an area of about 100 hectares (250 acres). The park is a synopsis of Indonesian culture, with virtually all aspects of daily life in Indonesia's 26 (in 1975) provinces encapsulated in separate pavilions with the collections of rumah adat as the example of Indonesian vernacular architecture, clothing, dances and traditions are all depicted impeccably. Apart from that, there is a lake with a miniature of the archipelago in the middle of it, cable cars, museums, Keong Emas Imax cinema, a theater called the Theatre of My Homeland (Theater Tanah Airku) and other recreational facilities which make TMII one of the most popular tourist destinations in the city.

This organisation represents the traditional Gandharba music community, a community of occupational caste musicians, functioned as the sole organised means of information and entertainment for the numerous isolated communities across the mountains of Nepal. The Gandharba Cultural Art Organisation (GCAO) is a non-profit social organisation based in Kathmandu, Nepal. Since 1995, GCAO has endeavoured to keep the Gandharba traditions alive, and to improve their economic and educational status. They have plans of documenting the tradition as well as promoting it as they feel it is endangered. The GCAO represents the Gandharba in many rural districts of Nepal, such as Gorkha, Lamjung, Tanhun, Chitwan, Dhading, Palpa, Bhojpur, Dhang and Kaski, and is currently reaching out to incorporate further districts where Gandharba communities reside.

The principal role of the Vanuatu Cultural Centre since its establishment in the early 1960s has been to document and record the culture and cultural history of Vanuatu. This has been done by the Centre’s staff and a network of over one hundred volunteer fieldworkers. The documentation efforts focus on details of remembered histories and traditions; details of ritual practices, classification systems, and languages; details of cultural landscapes and particularly sites of cultural significance; and records of contemporary events of historical and cultural significance. The latter, which is essentially a history-in-the-making, is recorded on video as examples of material culture collected for museological display, but almost everything else is documented on audiotape. This is because our indigenous cultures are primarily oral, and therefore, all our cultural knowledge is retained and transmitted orally. This documented knowledge is held by the Centre and has been used as source material for the revival of certain traditional cultural practices no longer being practiced.

Folkland, an international centre for folklore and culture, is an NGO devoted for the promotion ofnfolklore and culture established in 1989. Folkland is based in the south-western province of Indianand has branches in several regions of India and other countries, too. Main domains of Folkland fallnunder performing arts, oral traditions and expressions, social practices, rituals and festivals,ntraditional crafts, and so on. Folkland stands for the promotion of folklore with an objective tonprotect the intangible cultural heritage. lt strives hard to conserve intangible cultural heritage fornthe future generation. It aims for sustainable development through intangible cultural heritage.

The Shejun Agency was established with the aim of preserving and passing on the rich cultural heritage of Bhutan to future generations. Shejun means “knowledge transmission” in Classical Tibetan and Dzongkha. Active since 2004, Shejun presently focuses on the documentation and study of Bhutan’s written heritage and oral traditions. The organization is located in Bhutan's capital, Thimphu, and made up of a group of committed national and international scholars, field researchers, and support staff.

The Indira Gandhi National Centre for the Arts (IGNCA) was set up in 1987 to fulfill late Smt. Indira Gandhi’s (former Prime Minister of India) idea of restoring the integral quality of a human being, fragmented by his diverse roles in cities, classes, ethnic groups, religions, traditions, and nationalities, to reconcile one’s material and spiritual needs, and enable one to be at peace with oneself and with society. The center was visualized as encompassing the study and experience of all the arts—each form with its own integrity, yet within a dimension of mutual interdependence, interrelated with nature, social structure, and cosmology. nIGNCA is based in New Delhi, situated on twelve hectares of prime land while the center itself houses one of the finest libraries in the country, a media production division, a cultural information center, an exhibition division, conference halls and twenty-four guest rooms. Regional centers are in Bangalore (South India), Varanasi (North India), and Guwahati (the Northeast India). The center has collaborative program with numerous national and international institutions and universities and its faculty is internationally trained.

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.

The Institute of Papua New Guinea Studies (IPNGS) was established under the Cultural Development Act, passed by the Papua New Guinea House of Assembly on 14 October 1974. Papua New Guinea had become self-governing from Australia almost a year earlier, but independence was still about another year in the future. Today IPNGS is a national cultural institution under the National Cultural Commission Act. It moved to its present location towards the end of 1976. The distinctive welded sculptures on the outside walls and gates depict the Orokolo story of Aru Aru and his journey to the moon, as told by Sir Albert Maori Kiki.\nAlthough laws, governments, ministries, and even the location of the Institute have changed over the past four decades, the main focus has remained constant: the documentation, archiving, and promotion of Papua New Guinea cultures. Overseen by the Director, IPNGS is divided into departments for its present three main functions: Music (5 staff), Ethnology (3), Literature (1). There are also two staff in administration, and five casual workers. nResearch staff members under take research in villages and towns, or at festivals. Such research might be on specific topics, such as clan origin stories or the variety of dances performed at a particular festival, or more general survey work, such as documenting musical traditions in a particular village. While the primary focus is on traditional expressions, attention is also given to more recently developed expressions of culture, such as those performed in church or as part of widespread popular forms.\nThe Ethnology Department is responsible for documenting the many myths, legends, and other oral traditions found in the country. Publications have been produced in English as well as local languages, both to promote the maintenance of this important body of knowledge and to encourage vernacular literacy.\nFor many years, the Literature section was responsible for promoting creative writing, especially through the running of the annual National Literature Competition. Many submissions were made for categories such as novels, short stories, poetry, radio plays, essays, etc. The results appeared in our journals such as Gigibori, Bikmaus, and Sope, or as separate publications. We hope to revive the National Literature Competition in the near future.\nIPNGS Music Department has strived to develop its music archive to reflect all music-related research that has been done in the country. Although the collection can always be expanded, to a large extent this goal has been achieved.\nThe Music Archive presently contains about 12,000 hours of recordings on reels of tape, cassettes, discs, films, videos, CDs, and DVDs, with over 10,000 photos and 4,000 books, articles, and theses. These materials are a mixture of things collected by IPNGS staff, other researchers, commercially produced items, and historical recordings of PNG music from other archives around the world.\nAs with the other sections of the IPNGS, the Music Department has issued numerous publications. Presently, there is a series of cassette and disc recordings, a monograph series (Apwitihire), and a journal (Kulele). Our publications are widely used in the school system and have been well received overseas.\nIn total, IPNGS has produced about 250 publications, printed, audio, and films/videos. It has also played an important role in making materials published in languages such as German, Japanese, and local languages accessible through translations in to English or Tok Pisin.

Mataginifale Women’s Group (MWG) was established in Avatele in the 1980s. Originally named Avatele Women’s Group, its members decided to change its name in the 1990s to better reflect the unique status of women. Mataginifale was a female warrior from Avatele born around 700 CE and was a great weaver that created local tapa cloth called hiapo.\nMWG has been active in and around Avatele over the last three decades. Its members fulfill various church obligations of the Avatele Fellowship of Christian Women and promote culture through language, crafts, traditions, and customs. They work in collaboration with the Avatele Village Council, the Ekalesia Kerisiano Avatele, and other youth groups.\nMWG’s membership consists of MWG’s membership consists of ninety-four women and girls between ages one and eighty-two. Its executive members are elected every three years, and meetings are held quarterly to share ideas and receive updates on various events. MWG works to safeguard Taoga Niue (ICH of Niue). One element is made up of traditional knowledge, customs, traditions, and Avatele history, and the other is traditional food. Vagahau Niue, the official language of Niue, is what underpins them all and upholds Niuean society.