Although better known worldwide as a type of martial arts, Pencak Silat is actually an Indonesian tradition that has been transmitted over many generations. In addition to its sporting aspect, the Pencak Silat tradition also encompasses the aspects of mental-spiritual, self-defense, and art. The term Pencak Silat is formed from two words, which are pencak and silat. The term "pencak" is better known in Java, while the term "silat" or "silek" is better known in West Sumatra, to describe a group of martial arts which have many similarities. In addition to using local terms, each region has their own move, style, accompaniment music, and unique supporting equipment. The moves and styles in Pencak Silat are strongly influenced by various elements of art. These moves and styles are a unity of body movement (wiraga), movement feeling (wirasa), and movement fit to the accompaniment music (wirama). The supporting equipment for Pencak Silat includes costumes, music instruments, and traditional weapons. Pencak Silat practitioners are taught to maintain their relationship with God, human beings, and nature. These practitioners are also trained in various techniques to deal with attacks or other dangerous situations based on principles to protect him or herself as well as others, avoid harming the offender, and build comradeships. Pencak Silat is often performed during various ritual ceremonies and celebrations. Men and women of all ages, as well as the disabled, can all practice Pencak Silat. They usually will learn in Pencak Silat schools or academic schools from kindergarten to college.

Indonesia 2019

Tush kiyiz represents intensely embroidered ornamental carpet used to decorate the house. It is of a rectangular shape and embroidered on different types of fabrics. Initially it was used for insulating purposes in the yurt. Most probably, the first wall carpets were made of felt, which is evident from its name: tush – meaning “outer” or “in front”, and kiyiz – meaning “felt.” tush kiyiz is an example of Kyrgyz embroidery. Embroidery is one of the most ancient and most wide-spread crafts of Kyrgyz people. During the centuries Kyrgyz women have developed their own ornamental style, which is dominated by vegetative and zoomorphic motifs such as the ornaments of leafs, branches, flowers as well as round and spiral patterns. Kyrgyz embroidery leaves a lot of room for artistic expression and improvisation. Some Kyrgyz women embroider without stencils based on their own memory and imagination.

National Intangible Cultural Heritage, Republic of Korea The gat, a traditional Korean hat, was an essential item of attire for men whenever they went out in public. It was referred to by several different names including Heungnip, Chillip, or Pyeongnip. Gannil, the method of making these hats with fine bamboo strips or horsehair, involved a complex series of techniques in which the chongmoja (the cup-shaped upper part of the hat) and the yangtae (its brim) were produced first, and then combined in a process called ipja, which consisted in covering the headgear with silk fabric and lacquering. The demand for Korean bamboo hats declined sharply after the proclamation of the topknot decree and the introduction of Western culture including western-style clothing in the 20th century. The heritage is currently preserved in Tongyeong, Yecheon and Jeju.

National Intangible Cultural Heritage, Republic of Korea Men wore manggeon (horsehair headband) to keep their hair tidy before putting on gat (traditional hat). Manggeonjang refers to the skill of making manggeon, or to an artisan with such a skill. Manggeon is composed of dang (top fastening band), pyeonja (bottom fastening band), the net-like part covering the forehead, and the part covering the back of the head. Gwanja (ring-shaped button) and pungjam (hairband ornament) were used to indicate the person’s social status or for adornment. Human hair was also used to make manggeon.