The Poncho Paraí de 60 Listas de Piribebuy is a handmade garment from Paraguay consisting of three parts the body the fringes and the fajita or guard Each part entails different crafting procedures which are carried out collaboratively by women weavers To create the poncho the practitioners weave three types of cotton threads corresponding to the three parts of the garment Each weaver makes a part of the poncho and specializes in one of the processes While weavers have their own style and designs they develop skills for teamwork in order to save time and resources with the ultimate goal of maintaining the quality of the product The materials associated with creating the poncho including the thread pallets and wooden chairs are also made by hand Historically the ancestral techniques which were first used by the native peoples have been transmitted from weaver mothers to daughters orally through observation and practice Today the Safeguarding School also helps weavers pass on their knowledge to future generations The Poncho Para´í de 60 Listas is a symbol of unity and identity in the city of Piribebuy and is recognized nationally for its design and originality

Sona refers to drawings and geometric figures on sand Practised by the Lunda Cokwe and neighbouring peoples in eastern Angola it is a form of expression that seeks to convey beliefs thoughts and emotions as well as the relationship between human beings and nature Practitioners mark reference points on a wet floor covered in sand using their index finger and pinkie then trace lines around these points The figures and drawings are viewed as a means of transmitting stories knowledge and collective memory to new generations It is also practised as a decorative art Sona is passed on during initiation rites for youth who are preparing to assume social functions For practitioners Sona is a means of promoting cultural identity creating and consolidating collective memory and enhancing a sense of belonging It is also an opportunity to maintain indigenous knowledge and transmit it to children and youth In recent decades educational institutes have started using Sona as a means of teaching and advancing knowledge about mathematics ethnomathematics and anthropology among others The use of Sona by educational institutes and artists has allowed for its reinvention and dissemination and for the reinforcement of knowledge and skills about Sona drawings from different perspectives

The mapiko dance is a celebratory dance practiced by the Makonde people of Mozambique A part of the traditional rite of passage from puberty to adulthood the dance is performed in an enclosure usually under mango trees with dancers musicians and the public coming together to celebrate the initiation rite The dance may also be performed for the funeral of a group member or for entertainment It is a theatrical performance involving several dancers who perform alone or as a group wearing masks that represent animals or people They are accompanied by drums and a choir of women and men standing opposite each other In between the dances the choir also dances and sings provocative songs challenging and provoking the masked men and people from neighbouring villages The mapiko dance is transmitted during initiation rites It symbolizes human spirit harmony with the cosmos and the fight between good and evil and is viewed as a means of overcoming fear It also seeks to restore a balance between the masculine and the feminine For the practising communities mapiko is a means of transmitting ancestral values beliefs and customs and of helping youth familiarize themselves with the transformations of their bodies as they reach maturity

Dabkeh is a popular group dance in Palestine that is accompanied by traditional wind instruments and popular singing A social activity it is performed in several regions during festivals celebrations and events such as weddings and graduations Dabkeh is performed by eleven dancers regardless of gender The dancers stand in a straight line or semicircle clasping hands and shoulders to indicate cohesion The movements involve jumping and hitting the ground with their feet The dance can be performed by professional groups or spontaneously in public squares and family yards Most Palestinians know the dabkeh dance and practise it as a means of sharing their joy with family friends and neighbours The lyrics of the accompanying folk songs are in local dialects and express emotions related to the occasion such as courage strength and love Dabkeh and the accompanying arts and crafts are transmitted informally through oneonone learning and training Youth learn by participating in social celebrations where dabkeh is performed and by imitating adults The practice is also transmitted through summer vacation activities in schools and universities and through existing audiovisual media and publications Dabkeh is a means of expressing cultural identity celebrating family occasions and increasing social ties

The quintessential Lebanese breakfast AlManouché is a flatbread prepared in homes and specialized bakeries and enjoyed by people of all backgrounds The dough is indented using the fingertips and topped with a mixture of thyme sumac toasted sesame seeds salt and olive oil Once cooked a second garnish can be added such as soft cheese labne tomatoes cucumbers olives and mint leaves AlManouché is prepared by women for domestic consumption and by men women or all members of the same family in small Manouché bakeries While preparing the dough the practitioners pray that it will rise with Muslims reciting the beginning of Fatiha and Christians reciting several prayers and making the sign of the cross before letting the dough rest The techniques of preparing Manouché and its toppings are usually transmitted informally from parents to children When members of the same family participate in making alManouché there is a division of tasks according to gender The aroma of alManouché is a strong identifying factor that evokes traditional morning gatherings or sobhhiyé key moments of social interaction The preparation of alManouché for sale in small bakeries also contributes to local economic development

Xeedho is a dish given by a motherinlaw to her soninlaw to celebrate the first week of her daughters marriage It consists of a container carved from a tree trunk made to hold small pieces of dried dromedary meat that is fried in butter and preserved in ghee The container is placed inside a basket wrapped in aluminium foil and decorated with leather and shells The arrangement is then covered with fabric and placed inside a bag made from traditional fabrics representing a womans set of clothes Ropes are securely tied around the xeedho and carefully hidden An integral part of the wedding ceremony in Djibouti and the subject of riddles and poetry the ritual of making xeedho is transmitted informally within families with girls watching to see how it is prepared The brides mother grandmothers sisters and aunts invest fully in planning the marriage celebrations and preparing the xeedho which represents a commitment on the honour of the bride and her family The xeedho is also accompanied by other gifts for the newlyweds A carefully prepared highquality xeedho reflects a motherinlaws appreciation for her new soninlaw thus strengthening social ties between the families of the bride and groom

Sodai straw gardens are hanging ornaments made from the stalks of grains This practice involves the cultivation of grain typically rye the treatment of straw and the creation of geometric structures of varying sizes The structures are then decorated with details symbolizing fertility and prosperity Sodai gardens are believed to reflect the pattern of the universe and are associated with wellbeing and spirituality They are hung over the cradles of babies and over a wedding or family table to wish happiness to newborns fertility to newlyweds or harmony to the family Lithuanian homes are also frequently decorated with sodai gardens for Easter and Christmas Some sodaimaking families have been practising the tradition for generations Although most of the practitioners are women workshops exist and are open to people of all ages and genders The practice is passed on informally within families or during events such as festivals exhibitions conferences and summer camps An integral part of traditional wooden home interiors sodai gardens are viewed as spiritual gifts They provide a sense of shared cultural heritage and continuity to the practising communities while strengthening communal partnerships intergenerational bonds and cultural diversity

Junkanoo is the national cultural festival of The Bahamas Dating back to the beginning of the nineteenth century it was brought to The Bahamas by enslaved Africans who used their threeday holiday to recreate festivals from home An outlet for creative expression today Junkanoo is mainly celebrated through parades that retain many African elements and are a grand spectacle of indigenous music performances storytelling and craftsmanship Junkanoo is a celebration of unity bringing together thousands of people of all ages and backgrounds in the creation of towering colourful costumes with cardboard and crepe paper The costumes are prepared in shacks where the practitioners display their craft and transmit their knowledge to younger generations The knowledge and skills related to the performance and the creation of costumes are also transmitted within families The entire community plays a part in preparing youth for their rites of passage into Junkanoo Junkanoo is incorporated into every major national event as a celebration as entertainment and as a traditional cultural expression It fosters a sense of community pride identity companionship spirituality and unity Junkanoo is a celebration of creativity that refines the art of making beauty out of junk

Bolero is an indispensable part of the Latin American sentimental song with a strong lyrical character deeply rooted in Cuba and Mexico A cultural amalgam it combines the language used in European poetry with African rhythms of enslaved peoples and the sentiments of the native peoples of the Americas Bolero lyrics allude to daily life and the songs are performed in a variety of spaces from households to public areas and large concert halls as well as in festivals and as serenades The practice is generally passed down within families through oral tradition and imitation Researchers and academics such as historians musicologists and cultural managers also contribute to its transmission Today new boleros continue to be composed and the lyrics and music give room to an everevolving dialogue with the tradition of both countries The prestige achieved by Bolero and its appropriation by different sectors of the population have led to its expansion to other parts of Latin America and to other Spanishspeaking countries As a strong cultural symbol for broad sectors of Cuban and Mexican societies especially in urban areas it has served as a means of expressing emotions and feelings for over a century

Iftar also called Eftari İftar or Iftor in practicing countries is observed by Muslims at sunset in the month of Ramadan the ninth month in the lunar calendar upon completion of all religious and ceremonial rites Observed by people of all ages genders and backgrounds it marks the daily termination of the hardships of fasting from dawn to sunset The evening prayer is followed by activities such as praying ceremonies music storytelling games preparing and serving traditional and local meals and marriage arrangements For communities it often takes the form of gatherings or meals strengthening family and community ties and promoting charity solidarity and social exchange The ceremonies and rituals related to Iftar are also practised by people who do not necessarily fast during the month of Ramadan The knowledge and skills are typically transmitted within families through oral instruction observation and participation and children and youth are often entrusted with preparing components of traditional meals During this process parents also transmit knowledge about the benefits of fasting and the social values and functions of Iftar Iftar is often supported by governmental entities NGOs and charities as well as through television radio press and social media

Elechek is a traditional female headwear consisting of a hair cap and a very long piece of white fabric that is wrapped around the head like a turban and adorned with embroidery ribbons and jewellery The practice is an integral part of the traditional marriage ceremony in Kyrgyzstan A rite of passage the ritual of wrapping the brides first elechek takes place at her familys house before she leaves with the groom During the ceremony elders utter blessings to convey the communitys wishes for the bride and her new family such as good health fertility and harmony A married woman may wear the elechek at significant occasions changing its styles accordingly Many communities have developed their own styles and rituals and the styles used can indicate a persons age and her social and marital status The knowledge and skills are usually transmitted informally during wrapping ceremonies from mothers to daughters and from female elders to younger women However in recent years groups of women have started transmitting the knowledge and skills in new ways including through workshops online video lessons and collaborations with local scholars and researchers Elechek contributes to a shared cultural identity strengthening intergenerational ties and promoting solidarity and empowerment

Ceramic art is one of the oldest forms of applied art in Uzbekistan where deposits of loess clay including pottery clay can be found The practice is used to create large household items used in the everyday life of rural populations such as large containers for storing food and water tandoor ovens jugs and toys Traditionally the knowledge related to creating ceramic art was transmitted informally within families from father to son and from grandfather to grandson Today an increasing number of potters are now willing to transmit this knowledge to youth from the community and to their daughters and spouses thereby increasing production New potters are trained first by observation then involvement in different stages of the process and finally by working on their own The practice is also transmitted through community art circles universities colleges and art schools as well as at festivals craft fairs and exhibitions In addition to its historical and functional significance and artistic value Uzbek ceramic art contributes to the enrichment of cultural diversity and human creativity The production and sale of ceramics are also a source of livelihood and a key part of the social and economic life of the communities concerned

The AkhalTeke is a breed of horses created in the territory of modern Turkmenistan Characterized by their large size intelligence agility strength and shiny coat AkhalTeke are hardy and can manage without food and water for long stretches of time There are many customs and traditions around AkhalTeke horses including naming rituals horse beauty contests and racing and riding games They are also closely linked to wedding ceremonies during which the groom takes the bride away on a decorated AkhalTeke horse The jewellery and lace used to decorate the horses are primarily created and passed on by women Knowledge and skills related to the breeding and care of AkhalTeke horses are transmitted through formal and informal learning during which young horse breeders learn how to establish contact groom and feed the horses They then master the knowledge and skills of riding and training the horses Higher educational institutions and equestrian training centres also contribute to the formal transfer of AkhalTeke knowledge and skills The horses are an important part of the historical and cultural identity of Turkmenistan and the related traditions contribute to social cohesion and to increased awareness of the importance of living heritage in general

Traditional irrigation uses gravity and handmade constructions such as channels and ditches to distribute water from naturallyoccurring water catchment points such as springs streams and glaciers to the fields Practitioners choose specific days and periods to manually divert the water and the beginning or end of the watering season is often accompanied by social gatherings and festivities Traditional irrigation requires a profound understanding of the natural landscape water flow and weather conditions as well as close cooperation between those responsible for the distribution of the water such as farmers and landowners and others involved in the maintenance of the physical structures such as water cooperatives and local authorities The practice is typically passed on to younger generations informally through observation and training from experienced members although cooperatives associations scholars and institutions also play an important role in the transmission of knowledge For practitioners traditional irrigation and the centuriesold channel systems related to the practice are strong identity markers The practice is tied to a specific vocabulary and the knowledge required such as an understanding of the impact of the lunar cycle on water flow and skills related to woodworking can be applied to other aspects of the lives of bearers and surrounding communities

The polonaise is a joyful Polish group dance which can be enacted by a few to even several hundreds of pairs marching in procession following a trajectory proposed by the first pair The basic step involves bending one leg while taking a step forward with the other During the dance the pairs perform various figures such as raising joined hands to create bridges under which other participants can pass As the tempo of the polonaise is moderate participants with no prior experience can observe others and join in on the dance Today the tradition of dancing the polonaise is inextricably linked with prom a ball for high school students In some communities the polonaise is also danced at weddings new years or carnival balls and other celebrations The practice is typically transmitted within families and in educational institutions dance groups and local communities As it is widely present in Polish culture general awareness of the dance and its social meanings are increased by literature music and film A form of joint celebration the polonaise commemorates important moments in family and community life and symbolizes cooperation reconciliation and equality Because it is often danced by people of all ages and backgrounds it also promotes unity solidarity and dialogue

In Türkiye olive cultivation refers to grafting pruning and fertilizing wild olive trees called delice and to picking harvesting and processing the olives The methods used are based on traditional knowledge and practices concerning nature such as ideal soil characteristics climate and manure The olive trees are grafted and picked according to the folk calendar and several rituals festivals and social practices such as folk plays dances contests and feasts mark the beginning and end of the harvest season For instance villagers come together to pick the first olives of the season and some olives are deliberately left in the groves for poor people to pick The traditional knowledge methods and practices have been transmitted within families and villages for centuries orally and by participating in the associated practices Today publications nonformal education courses and informative seminars also contribute to their transmission In addition to the symbolism of the olive tree and leaf which are associated with peace eternity wisdom and harmony the practices concerning olive cultivation enhance solidarity cooperation and harmony within the community The element also contributes to environmental sustainability efforts and plays an important role in maintaining social and cultural identity particularly in rural areas

Italian opera singing is a physiologically controlled way of singing that enhances the carrying power of the voice in acoustic spaces such as auditoriums amphitheatres arenas and churches Performed by people of all genders it is associated with specific facial expressions and body gestures and involves a combination of music drama acting and staging Singers are identified by vocal range and colour and divided into several registers tenor baritone bass soprano mezzosoprano and alto The knowledge and skills related to Italian opera singing are transmitted orally between a maestro and pupil through vocal exercises and the gradual introduction of different musical repertoires and styles Performances in recitals singing schools and workshops also contribute to the transmission of the practice as well as formal education in conservatories and academies Furthermore the beginning of an opera season often coincides with local festivities and ceremonies The practice promotes collective cohesion and sociocultural memory and is closely linked with other cultural elements such as acoustic places and poetry It is also dependent on other professions such as stage and light design costume tailoring scenography and makeup A means of free expression and intergenerational dialogue its cultural value is recognized at national and international levels

Illumination is a centuriesold decorative art practised on the pages of manuscripts calligraphic texts and miniatures The main component is gold leaf or gold paint both of which entail specific knowledge and techniques Natural pigments are also used and synthetic paints such as watercolour or gouache have become widespread in recent years Today traditional and contemporary interpretations of the element can be seen in manuscripts miniatures and calligraphy as well as in standalone pieces of art The practice is transmitted through apprenticeships as well as through formal and nonformal education including in many universities academies research centres and public and private workshops The colours patterns and motifs used have symbolic meanings and it is common to embellish religious texts literary and historical manuscripts marriage deeds and even commercial treaties with illuminations The practice is therefore closely tied to the beliefs and cultural practices of communities Illumination strengthens the sense of cultural continuity for communities at national regional and international levels And as the traditional knowledge and methods of illumination are also used in the restoration of ancient manuscripts and folios the practice also contributes to the preservation of historical and cultural objects and to their safeguarding for future generations

In Nigeria the Sango Festival of Oyo marks the beginning of the Yoruba Traditional New Year in August It is an ancestral worship that takes place in Sango Nigeria near the ancient Koso Temple The tenday festival is strongly connected to the social religious cultural and political institutions of the Oyo State It is held in commemoration of TellaOko the third alaafin king of the Oyo Empire He is believed to be the incarnation of the mythical Sango the Yoruba divinity of thunder and lightning When the festival commences on the Yoruba New Years Eve in August Sango devotees and followers share and eat roasted new yam and palm oil People of all genders plait their hair and dress in red wearing white and red beads around their necks and wrists The festival encompasses different rites and involves chanting storytelling drumming and dancing Children acquire the related knowledge and skills by observing and imitating elders and attending Saturday worship at the Sango Temples Sango magical crafts and rites however are transmitted through apprenticeships The festival unites the Oyo community which views the practice as an expression of shared identity and social cohesion and as a means of reconnecting with their ancestor Sango

Midwives are companions and supporters of pregnant women and their families before during and after birth Throughout the course of a pregnancy midwives make home visits provide guidance and care and facilitate birth preparation and capacitybuilding classes They contribute to the protection of fundamental human rights by transmitting their knowledge to mothers and families Midwifery is based on evidencebased practices and traditional knowledge skills and techniques It varies according to the social cultural and natural contexts of different communities and countries and sometimes includes knowledge of traditional medicine and of medicinal plants and herbs Midwifery also entails specific cultural practices vocabulary celebrations and rituals The related skills and knowledge have been safeguarded developed and passed on by practising communities for generations especially within networks of women Traditional knowledge of midwifery is accumulated through direct experience observation and interaction with the human body It is transmitted through oral instruction observation participation and peer exchange In many countries the practice of midwifery also requires certification and the related knowledge and skills are transmitted through formal education such as academic learning based on curricula some of which align with the standards established by the International Confederation of Midwives

Jamu is a form of herbal medicine and treatment that has been practised in Indonesia since the eighth century It is based on the belief of curing hot diseases with medicines of a cold nature and cold diseases with medicines of a hot nature with a healthy condition being a balance between hot and cold elements in the body The colours and shapes of plants are also associated with the colours and shapes of the organs whose health they promote Jamu aims to increase immunity and maintain health Bearers and practitioners include Jamu makers and the people who make distribute cultivate and consume the ingredients People of all ages take Jamu medicine and though anyone can make Jamu most Jamu makers are adult women The medicine is prepared using herbs and spices often planted by Jamu makers themselves who then concoct recipes tailored to each customers age lifestyle and health concerns The practice is transmitted informally typically within families and among neighbours although some practitioners are selftaught Jamu is also taught in universities It is associated with respect for confidentiality and trust and its practice is viewed as a means of strengthening social ties

The Naga is a mythical serpentlike creature that lives in rivers Lao people believe that Naga are ancestors that watch over them To show their respect they add Naga motifs to different objects the most common of which is textiles through weaving Naga motifs are woven by hand using a traditional wooden loom The motif is created during the weaving process it is neither embroidered nor printed The patterns can be woven in silk silk organza and cotton and traditionally the Nagas body is woven in white or a solid colour with bright colours used for the crest to symbolize the creatures supernatural powers The centuriesold practice is transmitted informally within families and in vocational centres cultural centres and universities Textiles with the Naga design are used throughout a persons life For instance Naga motifs are used on newborn blankets and carrying cloths to protect the infants from evil Adults wear the motif in their daily lives and for important ceremonies or official events The Naga motif is also woven into the couples wedding attire to bless them and bring prosperity Many women prepare Naga motifs to wear when they die believing the powerful image will send them to heaven

The nyckelharpa is a bowed instrument originally built and played by farmers and craftspeople in northern Uppland in Sweden Dating back to the seventeenth century it was the most common instrument in this region played at dances and in various ceremonies and rituals In the early twentieth century interest in the nyckelharpa waned but the traditions were maintained by enthusiasts amateurs and professional builders and musicians The need for a cohesive organization was identified in the late twentieth century and resulted in the establishment of the nyckelharpa network The primary objective of the network is to safeguard living heritage through safeguarding activities such as a building playing and dancing to the traditional instrument b facilitating meetings and live music performances and c supporting documentation research and knowledge dissemination Today the nyckelharpa network is characterized by the exchange of knowledge among builders musicians researchers public institutions and other stakeholders The informal and nonhierarchical model has enabled the spread and use of an almost extinct local instrument The networks activities and over sixty years of experience are also applicable to other forms of crafts and creating music in other parts of the world

Transhumance refers to the seasonal movement of people with their livestock between geographical or climatic regions Each year in spring and autumn men and women herders organise the movement of thousands of animals along traditional pastoral paths They move on foot or horseback leading with their dogs and sometimes accompanied by their families An ancestral practice transhumance stems from a deep knowledge about the environment and entails social practices and rituals related to the care breeding and training of animals and the management of natural resources An entire socioeconomic system has been developed around transhumance from gastronomy to local handicrafts and festivities marking the beginning and end of a season Families have been enacting and transmitting transhumance through observation and practice for many generations Communities living along transhumance routes also play an important role in its transmission such as by celebrating herd crossings and organising festivals The practice is also transmitted through workshops organised by local communities associations and networks of herders and farmers as well as through universities and research institutes Transhumance thus contributes to social inclusion strengthening cultural identity and ties between families communities and territories while counteracting the effects of rural depopulation

In Switzerland alpine pasture season refers to the period between May and October when cattle sheep and goats are driven to highaltitude pastures to take advantage of the extra forage During this time alpine farmers of all genders care for the animals maintain the pastures fences and buildings process the milk into cheese and other products and welcome visitors The practice contributes to the preservation of natural landscapes and creates economic and social ties between the local populations and the alpine farmers It has given rise to the knowledge and skills needed to maintain the sites as well as to a variety of social and religious practices such as rituals prayers and blessings traditional clothing livestock competitions and local festivities The knowledge skills and customs of the alpine pasture season including farming and cheesemaking are often transmitted informally within families and their seasonal employees or among members of alpine societies and cooperatives They are also transmitted through regional training centres cultural events and tourism The alpine pasture season is a shared sociocultural experience that unites farmers villagers and the wider population It is a strong identifying factor that features prominently in Swiss literature music and visual and performing arts

Blacksmithing or the creation and repair of iron objects has played a central role in the local identity and cultural characteristics of the city of Gyumri Armenia for centuries Although the practice nearly disappeared in Armenia in the midtwentieth century it has survived in Gyumri where inhabitants continue to preserve existing items such as window lattices fences gates doors candlesticks and chandeliers made by old masters and to forge and use the iron products in their daily life Current blacksmiths some of which are fifth or sixthgeneration masters play an active role in safeguarding and transmitting the tradition of urban blacksmithing as well as its history traditional skills and knowledge They typically transmit the practice informally within their families passing on the skills and styles to their children and grandchildren In addition blacksmithing is also transmitted formally through community museums and in two specialized educational institutions the Gyumri Fine Arts Academy and the Gyumri Craftsmanship College N 1 A key part of the city of Gyumris architectural identity blacksmithing can be seen both in the interior and exterior of private and public buildings and is associated with the values of diligence honesty fair work and mutual respect

Mahadra sometimes called the university of the desert is a community framework for education and socialization in which traditional knowledge and literary expressions are transmitted mainly through listening and memorization Dating back centuries it has become a key feature of Mauritanian society and has led to the reproduction recreation and continuation of Mauritanian popular culture The classes take place under a tent covered with mats or carpets and cushions on the floor Mahadra is open and available to everyone regardless of gender age or social background The topics covered include language and traditional literature religious sciences and Sufism Students also acquire knowledge about the universe and nature including knowledge about rain the desert medicinal plants animal tracks and using stars for navigation A transmission system in and of itself mahadra is characterized by community commitment and trust and is based on a moral and social contract between the teachers and their students Rooted in Mauritanian society and based on oral communication it is a form of expression that promotes socialization communication integration and social cohesion It is also intricately linked to the transmission of Mauritanian poetry and storytelling providing a sense of continuity belonging and shared cultural identity for the communities concerned

Traditional handmade glass production entails shaping and decorating hot and cold glass to produce hollow glass objects flat glass and crown glass It is characterised by the high degree of craftsmanship inherent to the work and by strong team values due to the need to respect the previous steps performed by other glassmakers Most practitioners work in small or mediumsized glassworks or studios Each glassworks develops techniques unique to its catalogue and references Similarly each practitioner develops his or her own style even when creating identical pieces Production in traditional glassworks is based on the division of tasks with glassmakers traditionally working in teams according to their respective specialisation Individual work is also common particularly in coldglass techniques and jewellery creation The knowledge and skills related to handmade glass production are transmitted within families or through apprenticeships in glassworks The practice is also transmitted through formal training such as in vocational schools high schools colleges and universities The characteristics of handmade glass production generate a strong sense of belonging respect and solidarity among practitioners The centuriesold practice has also shaped specific terminologies festive cultures and religious functions that still retain important cultural and social meanings to this day

Garba is a ritualistic and devotional dance that is performed on the occasion of the Hindu festival of Navaratri which is dedicated to the worship of the feminine energy or Shakti The dance takes place around a perforated earthenware pot lit with an oil lamp or an image of the mother goddess Amba The dancers move around the centre in a counterclockwise circle using simple movements while singing and clapping their hands in unison Starting with slow circular movements the tempo slowly builds up to a frenzied whirling The practitioners and bearers of Garba are broad and inclusive from the dancers to the musicians social groups craftspeople and religious figures involved in the festivities and preparations Garba is transmitted across generations in urban and rural areas through practice performance imitation and observation Many schools and universities offer professional courses and workshops in dance music costume and ornament design landscape planning sound and light design all of which contribute to Garba creations The practice is also transmitted by NGOs government agencies choreographers musicians and the media Garba fosters social equality by diluting socioeconomic gender and religious structures It continues to be inclusive of diverse and marginalized communities thus strengthening social bonds

Traditional glassblowing in Damascus is the artisanal craft of creating glass objects using pieces of waste glass To create an object pieces of glass are placed inside a handmade brick oven to melt The craftsman twists the molten glass around a hollow metal rod He then blows into the rod to inflate the glass using metal tongs to mould it into the desired shape such as a cup vase lamp or ornament Powdered dyes are used to colour the glass while it is still melted or to decorate the objects once they have cooled and hardened Cultural symbols such as the hand of Fatima are often painted or engraved on the glass Damascene glassblowing is characterized by the white blue green and crimson colours used as well as the painted gold motifs In the past the practice remained within specific families with the father passing on the secrets of the craft to his children Today the related knowledge and skills are passed down informally through handson practice and instruction in workshops A source of livelihood for artisans Damascene glassblowing contributes to a sense of continuity and belonging It is also associated with social spiritual and historical spaces and with the practices that take place therein

Ceviche is a traditional dish in Peru prepared with raw fish marinated in lemon seasoned with chili pepper and salt and accompanied with locally grown produce The dish is consumed both on a daily basis and during festivities It is associated with moments of celebration and social gathering as well as with ritual celebrations particularly the festivity of Saint Peter patron saint of artisanal fishers Ceviche can be made at home or sold in traditional spaces such as cevicherías where the work of traditional female cooks stands out Its preparation and consumption entail specific practices knowledge and meanings at each stage from fishing to cultivating the ingredients and preparing the dish As recipes vary from one region to the next the dish also strengthens regional cultural identity The knowledge and techniques are generally transmitted within families This can be complemented by training programmes for instance to contribute to the proper management of natural resources Bearers see a direct correlation between the quality and flavour of the dish and local and sustainable produce As a result they have developed community measures for the protection and recovery of traditional ingredients such as various species of fish

Nguon refers to a series of rituals between the Mfon or monarch and his people Aimed at promoting dialogue harmony and peace the rituals are observed over a period of three days by the Bamoun community of Cameroons West Region Every two years in early December ritual chiefs consult the members of the community on the state of the kingdom Carrying the collected opinions they enter the palace at night and in secret on the agreed Friday to talk with the Mfon The following day the monarch attends a public trial on his governance with ritual chiefs reading out indictments based on the communitys feedback The Mfon may receive fines or even be removed from office If granted a new mandate he delivers an acceptance speech and receives the renewal of allegiance Popular celebrations follow culminating on Sunday with a parade and the monarchs triumphant return to the palace The practice is transmitted informally within families groups and secret societies as well as by the local radio station and Cameroons schools and universities Over six hundred years old the Nguon rituals are seen as a source of social cohesion and resilience and as a means of upholding values such as accountability freedom of expression and humility

Chutillos or the Festival of San Bartolomé and San Ignacio de Loyola is celebrated in Potosí Bolivia in the month of August An integral part of the local cultural identity the festival is characterised by gastronomic fairs dance performances and a procession to the sanctuary located in the Mullu Punku gorge a natural site with rock formations In the city parishioners and musical groups take part in the Autochthonous and Folkloric Dancing Parade of Chutillos and are joined by rural communities wearing traditional clothing Some travel up to 200 kilometres to reach Potosí from towns bordering Argentina contributing their traditions and oral expressions to the dancing parade Dance groups from other Latin American countries also join the festivities transforming the streets of Potosí into a platform for cultural exchange Other bearers include the people who make the traditional musical instruments clothing accessories and dishes The knowledge and skills of Chutillos are transmitted informally through oral instruction and participation in the festivities A symbol of faith and tradition the Chutillos festival is part of the cultural heritage of the indigenous Qara Qaras nation marking the beginning of the preparation of the land and a new agricultural cycle with offerings to Pachamama Mother Earth

AlMudhif is a large arched building made of reed and papyrus both of which grow naturally in the marshes of southern Iraq The building serves as a gathering place where members of the community can exchange address conflicts share experiences tell stories and practise cultural activities and social rituals such as weddings circumcisions religious ceremonies and national celebrations AlMudhif is also viewed as a space for transmitting traditional knowledge values handicraft skills norms and customs to children and youth It is a place to welcome visitors and guests from within and outside of Iraq The structures are built by skilled workers and managed by tribal sheiks but the entire community plays a part in the creation and maintenance of the space such as by collecting the reeds and weaving the mats and rugs that are used as mattresses inside the building The traditional customs and handicraft skills related to constructing AlMudhif are transmitted informally through handson practice and participation in cultural activities The practice is also transmitted through stories and legends as well as through publications and the media Moreover some NGOs organise workshops and activities in AlMudhif to raise awareness about their significance among the communities concerned

Engraving on metals such as gold silver and copper is a centuriesold practice that entails manually cutting words symbols or patterns into the surfaces of decorative utilitarian religious or ceremonial objects The craftsperson uses different tools to manually cut symbols names Quran verses prayers and geometric patterns into the objects Engravings can be concave recessed or convex elevated or the result of a combination of different types of metals such as gold and silver Their social and symbolic meanings and functions vary according to the communities concerned Engraved objects such as jewelry or household objects are often presented as traditional gifts for weddings or used in religious rituals and alternative medicine For instance certain types of metals are believed to have healing properties Engraving on metals is transmitted within families through observation and handson practice It is also transmitted through workshops organized by training centres organizations and universities among others Publications cultural events and social media further contribute to the transmission of the related knowledge and skills Practised by people of all ages and genders metal engraving and the use of engraved objects are means of expressing the cultural religious and geographical identity and the socioeconomic status of the communities concerned

In Côte dIvoire the traditional skills of loincloth weaving are characterised by the specific weaving techniques and raw materials used The fabrics woven by the Gouro Baoule Malinke Senufo Koulango Nafana and Abron communities are made from dyed cotton threads of various colours They are woven in narrow strips on a hand loom designed by the weaver The strips are then joined together to form a fabric with different patterns The traditional skills are specific to each ethnolinguistic group and reflect the social and cultural contexts of each community For instance among the Dida communities the textiles are made from raffia fibres attached to a wooden stake and woven crossways using a spoon The resulting fabric is usually beige in colour but can be dyed other colours such as black indigo red and yellow Among the Senufo communities women weave the unbleached cotton by hand and men decorate the fabric with wooden spatulas and natural paints The patterns are inspired by rituals and religious ceremonies representing elements of Senufo cosmology and symbolic animals including the hornbill panther and turtle These woven fabrics are cultural symbols that are generally used for traditional ceremonies such as weddings celebrations and funerals

AlMolid procession is a celebration of the Prophet Mohammed that takes place in Sudan The celebration starts twelve days before the Prophets birthday in the third month of the Islamic lunar calendar It begins with a procession of thousands of men women and children community leaders government officials army and police forces and music corps During the parade participants perform religious and mystical songs and ritual dances and recite Sufi prayers The celebration culminates in alMolid square a large openair space decorated with lights and flags and covered in prayer rugs Upon arrival the crowd hangs a flag by a very tall pole The celebrations are then launched by an official speech Participants enjoy the performances and traditional food and buy their children candies and toys AlMolid and the related practices knowledge and skills are transferred within families and dance circles through participation in the events and through modern education and mass media The event is an opportunity for different Sufi orders to express their solidarity However it is celebrated by the entire country thus uniting people from different religions The square itself serves as a meeting spot for people to chat celebrate entertain and enjoy cuisine from different parts of Sudan

Traditional wooden boatbuilding is a centuriesold tradition practised in Carriacou and Petite Martinique in Grenada The men women and children in the boatbuilding communities each have specific roles and functions during each stage of the process Established shipwrights build the boats felling trees that have been handselected for the natural bends and contours of the wood This must be done during the right phase of the moon based on guidance provided by elders The work cannot start in earnest until rum and water have been sprinkled on the keel and stem for the ancestors Once the boat is completed it is given a traditional blessing and designated godparents The godparents traditionally children under the age of eight are tasked with revealing the boats name which is embroidered on a red flag to be flown from the deck Women and girls prepare the traditional smoked food and cake for the launching celebration While traditionally enacted by men the practice increasingly involves women who provide technical assistance in the process The knowledge and skills are transmitted informally through oral instruction and handson learning The practice promotes camaraderie and social ties as people gather around the construction site to observe and participate in the process and celebrate milestones

For centuries the people of Armila Panama have lived in harmony with their natural environment and local fauna a relationship that is embodied in oral traditions In response to the decreasing transmission of these oral traditions and to strengthen the artisanal practices and ritual expressions dances and music associated with nature local authorities and the communities implements a safeguarding programme centred around the organization of an educational festival The fourday event coincides with the arrival of the large leatherback turtles a key element of local narratives and includes neighbouring communities It is an opportunity to understand the communities traditions and relationship with the sea and the natural environment The safeguarding programme is based on the inclusion of educational elements within cultural festivals and the combination of content related to nature the universe and oral traditions One of its objectives and achievements has been the creation of an intangible cultural heritage green seal for festivals that implement environmentallyfriendly practices It has also led to the revival of tales about the turtles and other oral traditions particularly among children The model has influenced festivals and festivities throughout Panama and can be adapted to festivals in other countries

The festa is a community event of religious origin held annually in village parishes across Malta and Gozo The main festa season in Malta starts towards the end of April and runs until the beginning of October with multiple events taking place in different villages Community volunteers prepare the festa throughout the year and the event itself typically lasts a week On the final day a statue is carried in a procession led by the clergy and accompanied by members of the parish and marching bands Festa weeks entail concerts band marches firework displays and bell ringing Typical festa food such as nougat is sold from street stalls The practice is transmitted informally through participation in the preparation and events For instance youth learn the stories and songs of the village and its sacred figures and how to participate in the festa by attending community events Some parishes organise a childrens festa in conjunction with the church and children carry a smaller statue through the town Despite its increased secularisation the festa remains an important part of cultural heritage in Maltese villages uniting families outsiders and local communities in a celebration of popular religiosity and local identities

Mother of pearl inlay is the practice of inserting mother of pearl pieces into wooden objects such as Koran cases desks chests chairs mirrors jewel cases and musical instruments Craftspeople begin by cutting the inner shells of molluscs into different shapes They draw motifs on a piece of wood carve out the outlines and shape the mother of pearl pieces which are then inlaid to the wood Finally the surface is polished with sandpaper burnt for colouring and varnished with melted resin Practitioners use thick woods such as walnut ebony and mahogany preferring dark colours to contrast with the white of the mother of pearl Geometrical floral and calligraphic motifs are often used for embellishment For craftspeople and their families the element represents a part of daily life and is a source of identity and pride It is transmitted through apprenticeships and in universities public education centres and workshops Today craftspeople also share their knowledge and skills through social media and online blogs forums and workshops thus strengthening social cohesion and cultural exchange across different countries They also contribute to the preservation of tangible heritage and of social and cultural memory by restoring historical objects exhibited in museums and monuments

The Rotterdam Summer Carnival is a multicultural celebration that unites participants from the Caribbean and European Netherlands as well as ethnic minority groups from Central and South America and Africa living in the Netherlands The event includes a street parade a brass band competition and a festival market featuring Caribbean food The practice is transmitted informally through participation in the carnival and preparations Carnival groups come together to prepare floats music and decorations based on a specific theme The preparations take place at the home of a group leader or in a community centre and the music and dance styles chosen are closely connected to the countries of origin of the participants The floats and costumes are constructed in a large shared space allowing the groups to exchange and transmit knowledge and skills related to welding carpentry design and recycling materials Several workshops such as on how to become a carnival queen organize a carnival group and raise funds for the event also exist The Rotterdam Summer Carnival is tied to peoples cultural roots and their emancipation bolstering individuality expression and selfworth By uniting groups of different backgrounds it also fosters acceptance of and respect for diverse cultural traditions promoting dialogue and social cohesion

The Bandos and Parrandas of the Holy Innocents of Caucagua Venezuela refers to street celebrations that take place on the nights of 27 and 28 December This Afrodescendant festivity is characterized by live music and satirical clothing mocking the styles of slave owners A safeguarding programme was developed to address its decreasing transmission through the establishment of a the Nuclei of Initiation and Transmission of Wisdoms and b Community Councils for the Safeguarding of the Intangible Heritage and Cultural Diversity Created by and for communities the Nuclei aim to strengthen oral transmission through weekly programming content whereas the democraticallyelected Community Councils are charged with developing safeguarding plans and projects For over a decade the programme has revitalized the festivity of the Holy Innocents and helped safeguard living heritage through activities such as trainings community research and seminars Its bottomup approach emphasizes community and youth participation intergenerational exchange and collaboration with national institutions The safeguarding programme is based on the premise that living heritage can positively affect how people interact with each other and their environment

Harees is a popular traditional dish made with wheat grain meat and ghee Typically consumed at breakfast and dinner the dish is usually made in big quantities because of the effort required to clean and grind the grain It is served in large dishes that are shared by several people and eaten using the thumb and forefinger while sitting on one knee Although harees is prepared for many occasions it is particularly popular during Ramadan when honouring guests and for social events such as weddings It is also popular during the pilgrimage season because of the simplicity of its ingredients and the ability to make and serve it in large quantities In the United Arab Emirates Oman and Saudi Arabia Harees is present in many social and cultural elements such as folk stories sayings and poetry The related skills and knowledge are passed on from mothers to daughters in educational institutes restaurants and hotels and through the media and official institutions Preparing and serving harees is viewed as a sign of hospitality and generosity A means of promoting social connection the practice strengthens bonds between people and communities while enhancing cultural affinity in the societies concerned

Shuwalid is an annual threeday festival celebrated by the Harari people of Ethiopia It marks the end of six days of fasting to compensate omissions during Ramadan The Harari people celebrate Shuwalid at the shrines of Aw Shulum Ahmed and Aw Akebara found at the main entrance gates of the walled city of Harar The festival starts with supplications and spiritual songs followed by the reading of scriptures music and dance The celebration is concluded with words of blessing The occasion unites community members of all ages and genders and serves as a platform for community elders to share their knowledge and experiences and to give blessings to the next generations as well as for youth to learn about cultural values norms and traditions Shuwalid is transmitted within families and by participating in the celebration as well as through formal educational and safeguarding measures in the sites where the festival takes place The media and relevant government institutions also support the activities A platform for the transmission of performing arts oral traditions traditional dress and other cultural elements Shuwalid promotes social cohesion and a sense of identity It also contributes to cultural exchange and supports the local community and artisans

Hiragasy is a performing art composed of song dance and speech Originating in the central highlands of Madagascar the performance takes place in public spaces It generally involves two troupes and lasts about one hour and thirty minutes following a standard structure including drumming greetings storytelling dance and folk songs The lyrics of hiragasy performances allude to moral civic and cultural values and the music is performed using traditional instruments Hiragasy is present in all Malagasy festive and cultural events A source of national identity it is transmitted informally within families with children following their parents on tour and joining in on the performances During the royal era hiragasy was used as a means of communication between rulers and the people to convey a message With the advent of Christianity it served as a means of expressing Malagasy faith and culture beyond the temples Today it is viewed as a means of conveying morals and cultural values history and knowledge of Malagasy ancestors In rural areas hiragasy is considered as a vital means of educating young people It maintains social cohesion and promotes peace within the family and among fellow citizens and society

In Thailand Songkran refers to the suns annual passing into the Aries constellation the first sign of the Zodiac which marks the traditional start of the new year Occurring in midApril after the rice harvest it is a time when people reunite with their families and pay their respects to older adults ancestors and sacred Buddha images Pouring water is a significant act during Songkran symbolizing cleansing reverence and good fortune Other activities include bathing important Buddha images splashing water on family and friends folk plays games music and feasting The tradition is passed on through participation in the festivities Parents transmit the tradition to their children orally through regular social and family interactions Educational institutes government agencies the media and Thai astrologers also play an important role in preserving promoting and transmitting the astrological knowledge and wisdom related to Songkran Songkran promotes community cooperation unity and forgiveness It is viewed as a time to symbolically wash away misfortunes pray for prosperity for the coming year reunite with family members and honour ancestors and older adults Furthermore by emphasizing the importance of older adults and of family Songkran helps to combat loneliness and social isolation

Sadeh or Sada is a celebration held annually on 30 January In the folk calendar it marks the day when farmlands are prepared for their next spring plantation and when people celebrate the end of the coldest winter days with 50 days and 50 nights remaining to spring Accordingly Sadeh means one hundred The element enjoys diverse manifestations in Iran and Tajikistan It involves singing dancing and praying around a fire and offering blessings and dry or fresh fruits The day also marks the traditional start of agricultural work for the new season with farmers sprinkling fertilizer in their lands and gardeners pruning their trees and bushes After the Sadeh celebration people in the villages meet outdoors to collectively clean waterstreams and pools and to repair bridges In both countries the practice including the preparation of traditional dishes is transmitted through participation observation and storytelling Media social networks scientific works articles conferences and symposiums also contribute to the transmission of Sadeh The practice unites people from different cultural ethnic and religious backgrounds providing an opportunity for peaceful interactions around agricultural and food traditions and promoting diversity and the continuation of oral expressions and memory

Balaban in Azerbaijan or Mey in Türkiye is a centuriesold woodwind instrument made up of three parts a body a wide and flat double reed and a clip The instrument is traditionally made of plum or apricot wood and coated with linseed or olive oil Once dry crafters drill several holes into the front of the body and one hole into the back The sizes number of holes and materials used vary according to the region The knowledge skills and techniques of crafting and playing Balaban are typically passed on informally within families through observation and handson experience as well as through apprenticeships The musical practice is also transmitted formally in universities and high schools traditional music conservatories institutions and student music communities Balaban plays a significant role in the music cultures of Azerbaijan and Türkiye and is commonly used as a solo or accompanying instrument at folk festivities weddings and concerts A vital part of the identity and collective memory of its musicians and craftspeople it is also an important means of promoting cultural identity solidarity and social memory in both countries with people of all ages genders socioeconomic backgrounds and ethnicities gathering to listen to and participate in the performances

Mek Mulung is a traditional Malaysian performance involving acting dialogue singing and dancing Originating in the village of Wang Tepus it is performed by a group of fifteen to twenty people accompanied by a music ensemble consisting of traditional percussion and wind instruments such as drums clappers and a gong Mek Mulung follows a set structure and is performed in an open barn with the spectators surrounding the performers The main characters in a Mek Mulung performance are the king and princess both of whom wear traditional dress as well as the shaman maids and antagonists Originally the actors were all men some of whom wore womens clothes for the female roles nowadays it is practised by men and women Initially performed as a celebration and expression of gratitude following a good harvest Mek Mulung begins with a communal feast on the day before the performance for the artists and their neighbours friends and guests Traditionally the knowledge and skills related to Mek Mulung are passed down orally by practitioners to their children Today the practice is also transmitted in schools and universities and through seminars workshops forums and cultural festivals and festivities The celebration is viewed by practising communities as a means of promoting lively social interaction and dialogue

The rickshaw is a small threewheeled passenger vehicle that is pulled by one person It is a recognized feature of Dhaka and Bangladesh as a whole Traditionally made by hand by a small group of craftsmen almost every part of a rickshaw is painted with colourful floral patterns natural imagery birds and animals creative depictions of historical events fables national heroes movie stars and text Rickshaws are also decorated extensively with tassels plastic flowers and tinsel As they are slowmoving vehicles the paintings and decorations are easily visible to onlookers thus becoming a roving exhibition Decorated rickshaws are emblematic of urban life in Dhaka resulting in exhibitions and festive events and often featuring in films and other artworks The traditional process of fashioning rickshaws is transmitted by craftsmen in rickshaw workshops orally and through handson training Rickshaw painting artists work on commission and usually pass on their knowledge and skills to their children and close relatives While all rickshaw craftsmen are men painters include men and women Rickshaws and rickshaw painting are viewed as a key part of the citys cultural tradition and a dynamic form of urban folk art providing inhabitants with a sense of shared identity and continuity

Malhun is a popular form of poetic expression in Morocco The verses are sung in dialectical Arabic and sometimes Hebrew They are accompanied by music played on traditional instruments notably the lute the violin the rebab and small drums Popular topics include love the joys of life the beauty of people nature religious prayer and pleas pleasure and merrymaking gastronomy imaginary journeys political events and social issues The poems also convey moral messages and encourage constructive discourse By combining song theatrics metaphor and symbolism in accessible language and a festive atmosphere malhun unites all Moroccans regardless of religion In the past the practice was transmitted informally through apprenticeships with vocalists musicians transcribers lyricists and the craftspeople who make the traditional instruments and costumes Today it is also transmitted through organizations and music conservatories as well as through publications containing traditional texts Enjoyed and performed by people of all genders malhun has had a considerable impact on Moroccan culture and collective memory for centuries It is performed in many spaces from family gatherings to large performance halls and malhun festivals As a collective art form it promotes social cohesion and creativity while serving as a historical record of social issues throughout the centuries

Piña is a textile made from pineapple leaf fibres and woven using a handloom Farmers harvest the leaves of the pinya Bisaya a specific pineapple species and extract the fibres by hand The fibres are weighed using a local unit of measurement and method involving old coins of different denominations The knowledge and skills of piña handloom weaving are primarily passed on within families Children grow up observing older family members engaged in pinya Bisaya cultivation and piña weaving and eventually learn the craft under their guidance The practice is also transmitted through the Schools of Living Traditions which were initiated by local communities in partnership with the government to help safeguard intangible cultural heritage in the Philippines Certain institutes provide trainings on related agricultural practices and weaving A source of pride and a strong identity marker the piña is the most highly regarded of the traditional textiles of the Philippines It is the preferred textile for making formal attire and is a vehicle for innovation and creativity as practitioners constantly develop new designs and patterns even as they preserve the old ones It is also a source of livelihood that contributes to sustainable development and to the social and economic empowerment of families and local communities

Atlas and adras are two kinds of traditional woven fabrics produced in Tajikistan Atlas is made from silk threads and adras is woven with silk and cotton threads but the technique of creating both cloths is similar There are many steps in the process from gathering cocoons and collecting cotton to spinning wrapping dyeing and weaving the threads by hand Dresses prepared from atlas and adras cloths are widely used by women and girls during celebrations in the workplace in schools and at home Traditionally the knowledge and skills related to the production of the atlas and adras are transmitted within families or in production centres It takes three to five months to acquire the weaving skills During this period students practise the weaving of simple fabrics with elementary ornaments The practice can also be transmitted formally in schools and colleges and through participation in atlas and adras festivals The fabrics are popular cloths among Tajik women who consider them as part of their cultural identity Women usually wear clothes made from atlas and adras in official ceremonies festivals traditional holidays social gatherings and events The transmission of the element to younger generations promotes unity and collaboration among people from different regions

The Belgian town of Geel is known for its tradition of hosting people with mental disorders in the homes of foster families A form of psychiatric care the communitybased practice encourages the social participation of mentallyvulnerable people while destigmatizing mental illness Over time the practice has evolved into a scientifically and medically supported programme with laws and decrees defining the conditions responsibilities and rights of foster families guests and the Public Psychiatric Care Centre Despite its resilience this tradition is challenged by changes in modern society and mental health care To respond to these challenges local organizations and councils work together on a multilayered safeguarding programme aimed at a transmitting the practice and its history b researching the model from historical medical and anthropological perspectives and c cultivating a caring ecosystem The programme highlights the complementarity of diverse health care approaches by nurturing a warmhearted ecosystem where cultural and health care practices and medical institutions merge It is an inexpensive model that leverages existing community assets and generates strong health outcomes for the mentally ill It is a costeffective mental health service which ensures healthy lives and promotes wellbeing for all at all ages

Typically found in deserts and dry temperate climates the date palm is an evergreen plant with roots that deeply penetrate the earth in search of humidity Date palms grow in oases in desert areas with suitable water levels for irrigation For centuries many populations have been associated with the date palm tree which has aided them in the construction of their civilizations in arid regions The ancient historical relationship between the Arab region and date palms has enabled a rich cultural heritage that has been passed on through generations Today the communities groups and individuals in the areas where the date palm has spread still maintain the related practices knowledge and skills These include caring for and cultivating the date palm tree and using its parts leaves fronds and fibres for traditional crafts and social rituals The date palm is also referenced in poetry and songs among others It has been associated with the region for centuries constituting a key source of nutrition in addition to the associated crafts professions and traditions Due to its longstanding significance the date palm is widely supported by local communities and various government agencies leading to a noticeable expansion of its cultivation and increasing regional manufacturing workforces

The Al Sadu Society developed the Educational Programme Train the Trainers in The Art of Weaving in collaboration with the Arts Department in the Ministry of Education in order to raise awareness about traditional Al Sadu weaving among younger generations in Kuwait A national curriculum was developed along with training workshops to help teachers learn contemporary weaving techniques and how to transmit this traditional craft to students Endofyear school textile artwork exhibitions are also hosted at Sadu House to showcase the programme outcomes Since the programmes inception in 2018 30959 students have completed the course and sixty male and female art teachers from the six school districts have successfully completed the initial training at Sadu House going on to train an additional 220 teachers The programme has had a significant impact on students and art teachers many of whom have demonstrated a high level of manual ability and creativity in traditional weaving The positive effects of the programme are evident in the students artwork and in the teachers enthusiasm to instruct and arrange endofyear exhibitions revolving around Al Sadu weaving Other outcomes of the programme include an increase in traffic to the website social media engagement and sales of the traditional craft

Raï is a popular folk song from Algeria A means of conveying social reality without taboos or censorship Raï music touches on topics such as love freedom despair and social pressures It was originally practised in rural settings by doyens who sang poetic texts in vernacular Arabic accompanied by a traditional orchestra At the turn of the twentieth century prima donnas added transgressive ideas singing about the freedom to love and desire while glorifying God and the saints Over time Raï gradually earned acclaim first at the national level during rituals and weddings then at the global level thanks to artists such as Khaled and Mami moving the performances from enclosed spaces to cultural events celebrations and national and religious festivals Its message of freedom and transgression has become universal borne by young women and men who sing and dance for the youth of their country and the rest of the world Raï music is thus viewed as a genre for young people representing a channel for them to express their feelings in their quest to break free from social constraints Musicians make and decorate their own instruments and transmission is done informally through observation or formally through apprenticeships

Belarusian straw weaving emphasizes the spiritual value and symbolism of the material and the products Various utensils such as boxes and baskets headgear toys and accessories are made from straw Some products have special meaning such as the harvest wreaths or pawuks complex diamondshaped structures believed to protect the household from evil and diseases The modern straw weaving art in Belarus is based on folk traditions and is continuously enriched by the creative achievements of individual experts who transmit their knowledge and skills online and through educational institutions art studios craft centres and festivals Many experts inherited the knowledge and skills from their parents and grandparents Some work as individual artisans selling their straw products at fairs festivals exhibitions or traditional crafts boutiques whereas others practise straw weaving as a hobby The experts are primarily women though men also participate typically creating traditional products such as containers hats ritual masks and sculptures in the ancient spiral weaving technique

In sericulture and the traditional production of silk for weaving farmers care for the silkworms through their entire lifecycle growing the mulberry trees that provide leaves upon which the worms feed and produce silkworm eggs The fibres are reeled from the cocoons spun into silk threads cleaned and dyed The threads are then used to create various types of craft products including fabrics carpets rugs and curtains Silk products are highly valued by all social and cultural classes and people use them for special occasions such as weddings funerals and family gatherings Deeply rooted in the traditions of the Great Silk Road the practice is an expression of cultural identity and centuriesold traditions It is also viewed as a symbol of social cohesion as the silk trade contributed to the exchange of culture and science within and across the countries concerned

The Festivity of Saint Tryphon and the Kolo chain dance of Saint Tryphon are centred around two main annual events the Feast Day of St Tryphon 3 February and the Boka Nights The Kolo performed by members of the Boka Navy dressed in traditional uniform is the most visible cultural aspect of the festivity Bearers of this tradition meet throughout February and March in every city where the Boka Navy is situated Known as Boka Nights these gatherings present the cultural heritage of Boka Croats to the Croatian public The festivity stems from the cult of Saint Tryphon His remains were taken to Kotor in 809 and he has been worshipped as the patron saint of Kotor the Diocese of Kotor and the Boka Navy ever since Members of the community are involved in the preparation and maintenance of costumes and learn about typical Boka recipes Knowledge of the broader historical and cultural context of Boka Croats and their patron saint is also transmitted through exhibitions public lectures cultural evenings and events

Orteke is an indigenous Kazakh performing art that combines theatre music and puppetry This folk art entails a music performance with a dombyra a traditional twostringed instrument and a dance performed by a wooden puppet Attached to the surface of a traditional drum with a metal rod a wooden puppet in the shape of a mountain goat is connected to the fingers of a musician by one or several strings As the musician strikes their fingers to play the dombyra the puppet comes to life hopping in sync with the music while tapping a rhythmic beat on the drum Some experts can play with three or more puppets at a time This performance fascinating for its simplicity is enjoyed by children and adults alike It is primarily transmitted within communities and through apprenticeships although the Kokil Musical College in Almaty has also established a team of researchers dedicated to the art The biennial Orteke international festivals and regional puppet art competitions are other platforms for the learning and sharing of skills and experience between puppet artists from Kazakhstan and neighbouring countries An important part of the regions folk heritage and identity Orteke also serves as a communication tool between adults and children

Xhubleta is a handcrafted garment worn by highland women and girls in Northern Albania characterised by its undulating bell form Predominantly black with colourful embroidered motifs the crafting process entails preparing the shajak woven felt cutting sewing and embroidering symbolic figures Xhubleta was once used in everyday life from the age of puberty indicating the wearers social and economic status However its use and production has been decreasing over the past decades due to sociopolitical and economic reasons The new policies set by the socialist system in the 1960s altered traditional cultural patterns bringing changes to the daily lives of the mountain communities and the use and production of Xhubleta As women had to work in the agricultural socialist cooperatives Xhubleta was no longer practical for everyday life Furthermore state collectivization led to a lack of raw materials for its production Today few women possess the knowledge of the entire process and traditional familybased transmission is rare Nevertheless the garment has maintained its social and spiritual significance and is still considered an integral part of highland identity

Šljivovica is a traditional plum spirit The element includes the complex knowledge and skills to prepare the drink in a home environment as well as its use in everyday and ritual practices The preparation has multiple stages involving families and communities Plums are usually grown on family farms and harvested in the fall They are brewed for 20 to 30 days then distilled in handmade copper vessels to produce a mild brandy A second distillation creates a stronger brandy The last phase is aging in a barrel usually made of oak for at least a year On festive occasions and during family celebrations šljivovica accompanies toasts expressing wishes for health and wellbeing It is also an important part of traditional medicine with medicinal herbs or fruits added to obtain cold and pain remedies or antiseptics In winter mulled brandy is consumed The practice is generally transmitted within families and communities with younger members acquiring knowledge over time through gradual involvement in different stages of the šljivovica preparation and use Women also assign great importance to the transmission of knowledge and skills related to rituals traditional medicine and gastronomy Related artisanal knowledge such as the manufacture of copper vessels is transmitted in workshops

The baguette is the most popular kind of bread enjoyed and consumed in France throughout the year The traditional production process entails weighing and mixing the ingredients kneading fermentation dividing relaxing manually shaping second fermentation marking the dough with shallow cuts the bakers signature and baking Unlike other loaves the baguette is made with only four ingredients flour water salt and leaven andor yeast from which each baker obtains a unique product Baguettes require specific knowledge and techniques they are baked throughout the day in small batches and the outcomes vary according to the temperature and humidity They also generate modes of consumption and social practices that differentiate them from other types of bread such as daily visits to bakeries to purchase the loaves and specific display racks to match their long shape Their crisp crust and chewy texture result in a specific sensory experience The baguette is consumed in many contexts including during family meals in restaurants and in work and school cafeterias The production process is primarily transmitted through workbased training combining school courses with work experience in a bakery This apprenticeship enables future bakers to acquire the necessary knowledge of the ingredients tools and process

Chinas traditional tea processing techniques and associated social practices entail the knowledge skills and practices around tea plantation management tealeaf picking manual processing drinking and sharing Based on natural conditions and local customs tea producers have developed six categories of tea green yellow dark white oolong and black teas When added to reprocessed teas such as flowerscented teas the result is over 2000 tea products with a variety of colours aromas flavours and shapes Tea is ubiquitous in the Chinese peoples daily life and is served steeped or boiled in homes workplaces tea houses restaurants and temples It is an important part of socialization and of ceremonies such as weddings and sacrifices The practice of greeting guests and building relationships within families and among neighbours through tearelated activities is common to multiple ethnic groups providing a sense of shared identity and continuity for the communities The knowledge skills and traditions are passed on through families and apprenticeships and the bearers include tea producers farmers and artists as well as those who make the pastries that are typically served with tea

The Ancestral System of Knowledge of the Arhuaco Kankuamo Kogui and Wiwa peoples of the Sierra Nevada de Santa Marta is comprised of sacred mandates that keep the existence of the four peoples in harmony with the physical and spiritual universe Through many years of dedication the knowledgeable men Mamos and women Sagas acquire the necessary skills and sensitivity to communicate with the snowcapped peaks connect with the knowledge of the rivers and decipher the messages of nature Based on the Law of Origin a philosophy that governs human relationships to nature and the universe the Ancestral System of Knowledge entails caring for sacred sites and partaking in baptism rituals marriage rites traditional dances and songs and retributions or offerings to spiritual powers This ancestral wisdom is believed to play a fundamental role in protecting the Sierra Nevada ecosystem and avoiding the loss of the cultural identity of the four peoples of the region The Ancestral System of Knowledge is transmitted from generation to generation through cultural practice community activities the use of the indigenous language and the implementation of the sacred mandates The transmission process includes the understanding of physical and spiritual relationships with Mother Nature and sacred sites

Over the centuries bell ringing has served as a means of expression and communication in Spain fulfilling a number of social functions from informationsharing to coordination protection and cohesion The coded messages conveyed through the ringing are recognized by the various communities and help to structure local life There is a wide variety of sounds determined by the techniques chiming turning or half turning combined with the skills of bell ringers and the physical characteristics and acoustical properties of the bells towers and belfries These elements converge to create a deep and rich repertory in both religious and civic arenas for marking distinct moments in the day alerting the populace to natural events such as fires or floods or to funeral processions and announcing decrees and other news Bell ringing is also a central part of local events celebrations and performances The practice is transmitted from the bell ringers to younger generations and through bellringing groups or organizations that in addition to documenting and researching the practice also ring transmit instruct and disseminate the art of traditional bell ringing Most individuals who pass on these skills are themselves young people attempting to recruit new enthusiasts to continue the practice

Turkmenstyle needlework is a decorative applied art used on the national dress of people of all genders and ages in Turkmenistan and Iran In both countries Turkmenstyle needlework begins with the preparation of thin silk threads that are intertwined in three layers and twisted into a single thread then straightened with a large needle This unique technique gives the thread a shine For the most common needlework style a series of loops are created by piercing the fabric with a thin needle and holding the previous loop with the thumb of the other hand There are also other needlework styles that vary according to the region There is no age limit and young girls traditionally learn the needlework from their mothers and grandmothers In rural areas the patterns used reveal the territorial identity of the needlewomen They are also used to symbolize love friendship nature and strength The needlework is used on wedding clothes in clothing for funerals and cultural events and as decorative parts of ordinary clothing such as scarves coats pants shawls and accessories

YaldāChella refers to a traditional celebration of the sun and the warmth of life Practiced in Iran and Afghanistan the event takes place on the last night of autumn when families gather at the houses of elders and sit around a table adorned with a series of symbolic objects and foods a lamp to symbolize light water to represent cleanliness and red fruits such as pomegranates watermelons beetroots jujube and grapes to symbolize warmth Broth sweets dried fruits and nuts that are used specifically for the occasion are also set on the table and consumed during the gathering Activities range from reciting poetry and storytelling to playing games and music and giving gifts to new inlaws brides and children The event celebrates cultural identity nature respect for women friendship hospitality cultural diversity and peaceful coexistence It is transmitted informally within families although radio and television programmes publications social media and educational materials have also played an important role in transmitting the practice in recent years Events conferences trainings workshops and awarenessraising activities carried out by research centres NGOs cultural organizations and educational institutes have also had a significant impact on the proper transmission of the element to future generations

Timber rafting in Austria Czechia Germany Latvia Poland and Spain originated in the Middle Ages when rafts were used to transport wood goods and people using natural water flows In the past rafters traveling to remote destinations spent weeks living and working together on their raft As a result a community sharing the knowledge skills techniques and values of making and navigating timber rafts emerged The tradition has been cultivated for generations and remains strong thanks to continuous oral communication observation and participation including through youth camps local schools festivals and workshops Measuring up to 600 meters long 50 meters wide and 2 meters high today timber rafts are mainly used for navigating rivers However the building process remains the same and includes selecting the wood transporting it to the river and connecting the trunks to form rafts Timber rafting fosters collaboration and social cohesion within and among participating communities and is now open to practitioners of all ages genders and social and cultural backgrounds The protection of water and ecological systems and the sustainable use of wood are deeply rooted in the practice and the regular and lively experiencesharing enriches the heritage and promotes common values and cultural exchange across borders

The oud is a traditional lutetype instrument played in Iran and Syria The musician places the shortnecked instrument on their leg fretting with one hand and plucking the chords with the other In both countries the oud consists of a pearshaped sound box made of walnut rose poplar ebony or apricot wood Crafting an oud takes up to twentyfive days during which the wood is left to dry and harden and is then treated with water and steam for fifteen days to build its durability Ouds are crafted in different sizes for different sizedbodies and decorated with wooden carvings and mosaic patterns They typically have five twin strings though a sixth string can be added With its bass and baritone ranges the instrument can produce melodic and harmonic tones The oud is played solo or in ensembles and is accompanied by traditional songs and dance in a wide range of events Its practice is transmitted through apprenticeships and in musical centres colleges and universities in urban areas Crafters are mostly men although in recent years young women have developed an interest as well

Kun Lbokator is a martial art dating back to the first century It aims to develop the mental and physical strength and discipline of its practitioners through selfdefence techniques and a philosophy of nonviolence The training of Kun Lbokator is not only about physical techniques and skills but also about mental disciplines on how to respect nature and behave with decorum in society Masters some of whom are believed to have healing and protective powers lecture their apprentices about their roles and responsibilities in society so that once they have mastered the necessary skills they can protect vulnerable communities and the natural environment and stand up for justice and peace Kun Lbokator is still actively performed as part of ritual offerings to local deities and in other festive events along with elements such as dance music and traditional medicine An embodiment of the countrys social cultural and religious values Kun Lbokator is widely practiced among Cambodians regardless of their age gender and educational backgrounds or status

Holy Week in Guatemala is one of the countrys most notable events entailing processions vigils funeral marches seasonal gastronomy and the creation of carpets orchards and altars On this occasion the fronts of houses and buildings are also decorated adding to the festive atmosphere Holy Week is a religious and cultural celebration that commemorates the passion death and resurrection of Christ It encompasses a series of activities and common elements that vary from one region to the next The practices and traditions associated with Holy Week have been transmitted to younger generations for centuries through active participation in the event and preparations as well as through public media Parishioners neighbours tourists artisans musicians and authorities participate in the preparations and celebrations giving the event its universal and cohesive character The event promotes tolerance and inclusion due to the participation of people from different social groups and fosters mutual respect and appreciation among the individuals and institutions involved A representation of the cultural diversity of the country for centuries it has represented an identification with pain and a cult of death that was familiar to Guatemalas original inhabitants a characteristic that remains to this day and that despite an apparent contradiction symbolizes hope and union

In Slovenia beekeeping is a way of life for many individuals families and communities who obtain bee products for food and traditional medicine and use their knowledge and skills to care for the honeybees and the environment The only subspecies kept in Slovenia is the Carniolan bee Beekeepers have around 200000 bee colonies and with the controlled breeding of queen bees they responsibly ensure the preservation of its valued characteristics gentleness yield excellent orientation and resistance to weather conditions Bees are kept mostly in wooden apiaries near beekeepers homes Communities express a loving and respectful attitude towards bees and the related knowledge skills and practices are shaped by centuries of tradition and transmitted from generation to generation Beekeepers who consider bees their teachers and friends as well as symbols of virtue cleverness and frugality expand their knowledge and skills through constant research The importance of beekeeping in Slovenia is reflected in its rich terminology and in academic literary and folklore texts with printed works from the eighteenth century onwards disseminating knowledge prose poetry and sayings related to beekeeping art with the characteristic painted panels and religious and secular motifs on the hives and architecture with the construction of traditional apiaries

Modern Dance is a form of physical expression distinct from classical ballet Rather than reproducing predetermined dance positions the dancers seek a truetolife expression that reflects emotions and life experiences The focus lies on solo pieces as well as on cocreation in small groups and age social status origin physical condition and gender play no role Modern Dance in Germany is practiced and taught by dancers choreographers and dance educators of different ages and styles It includes elementary rhythmic movement education as well as dance projects for children and young people at public schools and leisure facilities Dance communities also offer courses and workshops in dance schools cultural institutions and adult education and study programmes A multifaceted practice of cultural activity and selfempowerment modern dance creates a sense of community strengthens human ties and is locally rooted From a social perspective it is viewed as a source of social cohesion promoting integration and inclusion especially of disadvantaged groups such as people with disabilities and older adults It also promotes health by contributing to an appreciation of physical and emotional expression

The art of the traditional blouse with embroidery on the shoulder called altiță is an essential part of Romanian and Moldovan folk dress for men and women It juxtaposes a simple cut with rich and colourful ornamentations that are stitched using complex sewing techniques The blouses are white and made of natural fibres flax cotton hemp or floss silk and the complex stitch combines horizontal vertical and diagonal seams that result in a specific pattern and texture The styles and techniques vary according to the region and the wearers age as well as to the skills of the women who create the blouses The motifs and ornamentation are also varied from geometric and stylised registers to organic shapes and from sombre to vivid colours Traditional blouses with altiță are made entirely by hand and recent attempts to mechanize certain steps and to simplify the ornamentation and techniques constitute deviations from tradition The craftsmanship is exclusively female and generally passed on within families although some organizations museums and schools organize camps and courses Today interest in creating these blouses is steadily increasing with the practice viewed as a means of relaxation and of affirming ones national identity and maintaining visible ties to the past

The cultivation of Khawlani coffee beans begins by planting the seeds in mesh bags filled with soil and stored in a shaded area for three to four months They are then transferred to agricultural terraces that conserve water and soil The fruit grows two to three years after planting It is harvested by hand and laid out to dry To extract the bean the dried fruits are placed on a large flat stone mill and a cylindrical stone hulls them to prevent cracking separating the bean from the outer shell Khawlani tribes have been cultivating coffee beans for over 300 years passing on the skills and techniques to younger generations Coffee is viewed as a symbol of generosity in Saudi Arabia and serving guests the coffee beans harvested from ones own farms is considered a sign of honour and respect The planting and processing of Khawlani coffee beans encourage social cohesion and provide a sense of shared identity with farmers gathering to exchange knowledge and help other farmers improve their skills

The Bear festivities take place every winter in five villages in the Pyrenees mountain range located in Andorra and France During the event young men dress up as bears and run through the streets trying to catch participants The festivities are punctuated by dances speeches in Catalan and music The entire local population takes part hunting the bears and welcoming the spectators Although the style varies from one village to the next the scenario remains the same and symbolizes the end of winter spring rebirth with the bear waking up from hibernation and the relationship between humans and nature After a decline in popularity in the 1960s the festivities have regained popularity over the last thirty years People of all ages and backgrounds participate to different degrees by helping with the organization playing roles singing or taking part in the chases The Bear festivities are passed on through associations and schools and within circles of family and friends Children are also in the habit of spontaneously playing Bear Uniting thousands of people from the Catalan region the centuriesold event constitutes an opportunity for the population of the five Pyrenean villages to celebrate their common heritage and assert their membership of the community

Chilis Quinchamalí and Santa Cruz de Cuca pottery is embedded in the mestizo cultural tradition of central Chile and is characterized by black functional and decorative objects with white accents created using techniques dating back centuries Functional items include pots fountains and tableware Decorative items include figurines related to the peasant landscape and local characters such as the guitarrera a peasant woman carrying a guitar Potters sell their creations in their homes at local stalls at the Chillán Market and at craft fairs as well as through intermediaries Women hold the knowledge and practices of pottery forming female lineages with distinctive styles A source of social and economic autonomy the practice highlights womens nonsubordinate role in gender relations However the viability of the element is threatened by demographic and environmental factors and precarious social contexts With young people moving to urban areas the possibility for transmission is diminished Access to raw materials is also becoming increasingly difficult due to a loss of biodiversity and soil degradation Furthermore the absence of regulation favours the appropriation of the intellectual property around pottery knowledge and its use by designers and artists for profit without sharing the benefits with the practitioners

The Pontenas ondas PNO project aims to safeguard intangible cultural heritage on the PortugueseGalician border by creating spaces in which the heritage can be practiced and transmitted to younger generations Initially developed in schools of the municipalities of Salvaterra de Miño Spain and Monção Portugal the project later spread to many other schools and institutions More recently this living heritage has been studied and analysed for educational purposes by teachers and researchers from PNO with the support of tradition bearers practitioners and specialists from universities in the region The PNO project has allowed young people to get involved in the practice and transmission of their own traditions thanks to the dissemination of cultural heritage in schools the training of teachers the presence of bearers and practitioners in classrooms to share their knowledge and experience and the use of information and communications technology and radio resources to transmit promote and enhance the shared intangible cultural heritage

AlMansaf is a festive dish that is central to Jordans sociocultural events An important and wellknown symbol that evokes a deep sense of identity and social cohesion it is associated with the agropastoral lifestyle in which meat and dairy are readily available Large chunks of sheep or goat meat are boiled with spices in a yogurt sauce and served with rice or sometimes bulgur over a layer of thin bread The preparation itself is a social event with cooks discussing common concerns telling stories and singing The layers of bread rice and meat are arranged on a platter and garnished with fried desiccated almonds In northern Jordan fried bulgur balls filled with minced meat are also placed around the dish The hosts relatives carry the platters to the reception hall and the guests sit around them with five to seven people around each platter Traditionally the dish is consumed with the right hand while the left is placed behind the back but today some people use dishes and spoons Women generally pass down the recipes and related practices such as milking the goat or sheep to their daughters and granddaughters Culinary institutes and universities also contribute to the dishs transmission

Case of extreme urgency Ukrainian borscht is a traditional dish that is cooked with broth combined with beetroot sugar beet or fermented beet juice There are many versions and the practice entails the recipe cooking method and occasion according to which a certain variety is prepared Borscht is cooked in a large pan or pot and typically served with bread or garlic buns It is prepared primarily by women although many men also prepare it as an everyday dish The practice dates back centuries and is passed on within families with children participating in the preparation An expression of hospitality Ukrainian borscht unites people of all ages genders and backgrounds at the table It is also used in ritual practices such as in the region of Podillia where the third day of the wedding has maintained its ritual name do nevistky na borshch meaning visit daughterinlaw to eat borscht It is lauded in tales folk songs and proverbs and viewed as a lifestyle and identity marker The viability of the element however is threatened by various factors since the beginning of the armed conflict in February 2022 including the displacement of bearers from their communities of origin and from the cultural contexts necessary for the cooking and consumption of borscht in Ukraine Moreover destruction to the surrounding environment and traditional agriculture has prevented communities from accessing local products such as vegetables needed to prepare the dish Despite these difficulties communities across Ukraine have united around the element

Talchum is a performing art that encompasses dance music and theatre An ensemble of six to ten musicians accompanies masked performers who humorously explore social issues through dramatic combinations of songs dances movements and dialogue The practice uses caricatures of everyday characters to convey its underlying appeal to universal equality and criticism of social hierarchy Talchum performances do not require a formal stage any empty space can become a venue The audience plays an essential role contributing to the production with their cheers and jeers as the drama unfolds This interaction with audiences and the focus on social criticism contributed to Talchums largescale transmission in the 1970s and 1980s among young people particularly university students This generation continues to play a critical role in the transmission of the practice passing on the related knowledge and skills of Talchum performance and maskmaking to younger generations through local associations clubs camps and public schools Initially performed by men the practice now includes women In addition to serving as a tool for social commentary Talchum can promote and reinforce local cultural identities through the inclusion of local dialects and folksongs Talchum mask dance dramas are also an important part of local festivals

AlKhanjar is a part of traditional dress worn by men in Oman during national and religious events and special occasions such as weddings An essential element of Omani culture its manufacture requires significant knowledge and skills that are transmitted from one generation to next The Omani khanjar is attached around the waist and includes a belt handle blade scabbard and cover all made from a variety of materials including wood leather cloth and silver The materials which are engraved with unique designs are viewed as a reflection of the connection to the land The khanjar is a part of the state emblem and plays a key role in many Omani customs and traditions Historical sources and archaeological discoveries indicate that Omanis have worn the khanjar for centuries Formal workshops and trainings also contribute to its transmission A highly appreciated gift the khanjar is one of the gifts that Omanis give to official guests as an expression of the cultural connection between nations Many poems in the Omani literature also describe and praise the khanjar and Omani artists and photographers have competed in documenting the object and the craft Wearing the khanjar is also associated with many if not all Omani folk arts

The Hungarian string band tradition is one of the countrys defining ensembles and one of the most common representatives of folk music culture The basic fiddleviolabass lineup takes many forms across regions and eras and can be expanded to include additional string players or reed instruments Up until the middle of the twentieth century string bands provided music for village parties family and village festivities agricultural events and religious and public holidays Today they play a crucial role in stage performances local festivities such as dances and urban táncház dancehouse or folk dance parties A groups repertoire can include thousands of melodies which village musicians play entirely from memory In addition to memorybased oral transmission melodies are now also acquired in formal educational settings using written transcriptions and audiovisual documentation Because Hungarian string bands have always adapted to the social context the melodies lyrics playing style and repertoire are jointly shaped by the musicians and the dancers and audiences With its varied instrumental composition social and cultural functions and diverse repertoire the Hungarian folk string band has a radiating effect across all of Europe and especially in neighbouring areas making it one of the most influential musical phenomena in the region today

Alhedaa is an oral polyphonic expression accompanied by gestures or musical instruments played by herders to communicate with their camels The rhythmic expression is inspired by poetry and the herder uses a unique repository of sounds that the camels have become accustomed to in order to direct herds through the desert or pasture to an area for drinking feeding and milking preparation Alhedaa can also be used for swift assembly in case of immediate danger such as sandstorms Herders train their camels to recognize the difference between right and left to open their mouths when asked and to kneel down to be ridden The practice creates a strong bond between the camels and their herders as well as among the herders themselves It is transmitted within families and communities with children accompanying adult family members on daily trips

Cuban light rum emerges in 1862 in the city of Santiago de Cuba Since then there has been an uninterrupted transmission of the Cuban light rum masters knowledge which is put into practice in aging cellars mixture areas and laboratories The Cuban light rum masters knowledge is a set of traditional scientific sensory knowledge and techniques transmission that ensures the safeguarding of the Cuban light rum manufacturing process Regardless of brand light rum masters follow an ethical code centred on respect for Cuban rum culture and its history and good practices with ecoculture and harmony with the environment at its core The transmission of light rums master knowledge is a lifelong learning process that is passed down from generation to generation and includes protecting aging cellars knowing their contents and characteristics and the history of each barrel and knowing which mixtures result in a given appearance aroma taste and texture Masters form a guildtype community with selective admission that advocates for responsible consumption and acts as a cultural bridge between Cuba and the rest of the world

The Tranos Choros Grand Dance and Syrrako festival are celebrated nationwide in Greece to commemorate the Dormition of the Virgin Mary Historically these Orthodox festivities originating in Vlasti and Syrrako marked the annual reunion of pastoral communities before the sheep or cattle farmers moved to their winter pastures Although the population of most highland communities has greatly diminished today the festivals are associated with the reunion of the communities whose inhabitants have migrated to cities The main feature of both festivals are the ritualistic dances For the Tranos Choros in Vlasti dancers of all ages form a large open circle holding hands and dancing to a slow and imposing rhythm while singing a cappella In the Syrrako Festival a band and singers accompany the dance In the communities youth learn the customs by watching the participants and preparations from an early age Today cultural organizations also play a key role in transmitting the dances and cultural context The festivities are viewed as a celebration of both villages identities providing an opportunity for younger generations to connect with their cultural heritage In Syrrako the festival is also an opportunity for older villagers to speak their native language Vlach which is in gradual decline

Talli is a traditional handicraft practised in various parts of the United Arab Emirates Today the demand for Talli is at its highest before religious festivals Eids and the marriage season in the summer Also known as Alseen Talli is usually created with a combination of six cotton threads separated by a silver thread in the middle These are skilfully woven into colourful shapes with symbolic meanings tied to life in the desert and at sea A timeconsuming craft Talli is transmitted informally from mothers to daughters as well as formally through courses and workshops held in schools universities and heritagedevelopment centres The practice is also promoted during cultural events festivals and competitions The gathering of women in houses and residential neighbourhoods to braid Talli has a social dimension as it provides an opportunity for social interaction and for the exchange of Talli knowledge These gatherings also serve as cultural forums to share folk tales proverbs and other verbal forms of the countrys intangible cultural heritage

The Telling Tradition of Nasreddin Anecdotes refers to the social practices and festivals around the telling of anecdotes attributed to Nasreddin a philosopher and wiseman recognized for his wisdom and humorous analyses and representations of society and life experiences Although there are slight differences across communities in terms of imagery character names and stories the key features are shared as a common heritage in Azerbaijan Kazakhstan Kyrgyzstan Tajikistan Türkiye Turkmenistan and Uzbekistan The anecdotes are transmitted through oral tradition and written sources and have inspired local idioms and proverbs Many have become classics and are also distributed in printed and visual media and in television programmes prepared for children Characterized by their wisdom witty repartees absurdity and element of surprise the Nasreddin anecdotes often break with accepted norms with the narrator finding unexpected ways out of complicated situations and always coming out as the winner by the power of word The anecdotes have an instructive and entertaining function and communities use them to enrich conversations reinforce arguments persuade others or explain a situation Municipalities universities and nongovernmental organizations play a vital role in the transmission of the anecdotes organizing various activities and festivals for their commemoration at local national and international levels

As part of coordinated efforts to safeguard traditional games and sports in Italy Belgium Croatia Cyprus and France the Associazione Giochi Antichi launched Tocatì its your turn a festival and platform uniting communities groups and individuals that practice traditional games Tocatì links traditional games and sports to the values of intangible cultural heritage mobilizing thousands of players volunteers admirers and media actors By taking place in the streets and rendering highly urbanized and touristic areas spaces of inclusion and equality it also raises awareness of the existence of intangible cultural heritage and the related risks The five main objectives of the Tocatì programme are to a enhance a common ground of exchange between practitioners and institutions b establish a process for the participatory identification documentation and monitoring of traditional games and sports c improve the transmission of traditional games and sports in formal and nonformal education d empower and protect communities and increase their ability to secure access to and manage public spaces and e involve communities groups individuals institutions and other stakeholders in innovative capacitybuilding initiatives These objectives were identified through community consultations and meetings at the local national and international levels and have dynamically shaped Tocatì contributing to the programmes growing participation and reach

Harissa a seasoning made with chilli pepper paste is an integral part of domestic provisions and the daily culinary and food traditions of Tunisian society It is usually prepared by women in a convivial and festive family or neighbourhood setting It is prepared by drying the chilli peppers in the sun and splitting the peppers removing the stalks and deseeding The chilli peppers are then washed ground and seasoned with salt garlic and coriander using a pestle and mortar or a manual meat mincer The harissa is stored in glass or pottery for subsequent use The cultivation of chilli peppers follows an agrarian calendar that prohibits sowing during certain periods which are considered unlucky Chillies are hung on looms and replicas are made from coral to avoid bad luck The knowledge and skills related to chilli pepper growing are passed on within communities of farmers or through agronomy schools and institutes

The festivals related to the Journey of the Holy Family in Egypt commemorate the Holy Familys voyage from Bethlehem to Egypt to escape King Herods oppression Every year the event is memorialized by two festivals in which Egyptians including Muslims and Coptic Christians of all ages and genders participate in large numbers The first festival called The Festival of the Advent of the Holy Family to Egypt is a oneday event generally held in the beginning of June The second event called The Nativity of the Virgin is a feast that takes place in several towns and cities including Durunka and Cairo between May and August Activities include singing traditional games bodypainting reenactments of the journey religious processions artistic performances and the sharing of traditional foods The festivities are replete with social functions and cultural meanings including the unified social and cultural fabric between Coptic Christians and Muslims evidenced during the preparations and festivities The events are also associated with the provision of voluntary services to visitors by local residents and the exchange of gifts The knowledge and skills are transmitted through churches and monasteries within families and through active participation in the rituals

Furyuodori in Japan refers to various ritual folk dances characterized by eyecatching costumes and lively dances and music These local dances have been performed for centuries primarily in rural areas With life in these areas often affected by severe climate events local communities created ritualistic performances to express their hopes for a tranquil life The dances are performed for many reasons including to pray for the end of plagues the repose of the deceased a good harvest or safety from disasters Each element from the costumes to the music is believed to dispel evil spirits and misfortune and to strengthen good forces such as local deities and ancestral spirits that protect the communities The dances vary from one region to the next but share commonalities Knowledge and skills are transmitted formally and informally through local governments and preservation organizations in schools and within families and communities The performance of Furyuodori is an occasion for community members who have moved to urban areas to return home For instance former Uonuma City residents who live in Tokyo travel back home to take part in the dance Some also perform Furyuodori in Tokyo at annual gatherings of people from the same regions

Pehlevanliq culture in Azerbaijan includes games and sports such as wrestling and individual performances Pehlevans use specific tools that resemble medieval weapons such as swords shields and bows but are heavier originally to allow pehlevans to handle real weapons easily The competitions are overseen by referees and accompanied by music or fastbeating drums The main practitioners of the element are the pehlevans the men who practise perform and transmit their knowledge and skills The community also includes local organizations trainers and students at local physical education institutions as well as the spectators and the craftsmen who create the tools The main driver for the transmission of the element has been the interest of local communities in the games sports and performances An integral part of popular culture folk events and outdoor celebrations Pehlevanliq culture provides a strong sense of identity to communities in Azerbaijan For many years pehlevans have been a symbol of determination promoting social cohesion and providing a sense of pride and shared identity to local communities

Pyongyang Raengmyon cold noodles made primarily from buckwheat is a customary social and cultural dish in North Korea It is served in a brass bowl and topped with trimmings of meat Kimchi vegetables fruits and garnish Cool meat stock or watery radish Kimchi juice is poured over the noodle strips to finish the preparation A traditional folk dish deeply rooted in the lives of Pyongyangites it is associated with long life happiness hospitality conviviality and friendliness and is believed to foster respect intimacy and unity A day before Jongwoldaeborum a Korean folk winter holiday family members and neighbours gather to enjoy the noodles hoping their life will be as long as the noodle strips At celebrations such as birthdays and weddings Pyongyangites serve the dish with blessings for relatives neighbours and friends It is customary to have some liquor beforehand Today the dish has spread beyond special occasions with the establishment of Pyongyang Raengmyon restaurants Within families grandmothers and mothers take pride in the transmission of the skills and knowledge to their children regarding it as their moral obligation The practice is also transmitted through workstudy programmes and trainings in restaurants cooking contests festivals and exhibitions as well as by the media and in educational institutes

The Kalela dance originated during colonial times in the Luapula Province of Zambia It was adopted by mine workers and used for entertainment at the Chiefs Palace during traditional ceremonies funerals harvest celebrations and other important occasions Kalela is a kind of dance drill formation in which the dancers form two or three lines moving forwards and backwards as they sing along to the drumbeat There is a lead singer along with others who join in to support Lead dancers also guide the formation and dance around the drums which are placed at the centre There are two big drums and one small drum typically played by men The knowledge and skills of the Kalela dance are primarily transmitted to the public and to younger generations through song and poetry and through observation and participation during public performances However some groups may organize formal lessons led by expert drummers to recruit new musicians as drummers are sometimes scarce Public performances are included in many events such as traditional ceremonies public and state functions international and national celebrations weddings and funerals

Tea culture in Azerbaijan and Türkiye is an important social practice that shows hospitality builds and maintains social ties and is used to celebrate important moments in the lives of communities Although there are several types of tea and brewing techniques communities in both countries primarily harvest and consume black tea Communities brew tea by using a wide variety of kettles produced using traditional craftsmanship The drink is served freshlybrewed and hot in pearshaped cups made from glass porcelain faience or silver It is typically accompanied by sweets sugar lemon slices jams and dried fruits In certain regions of Azerbaijan some communities also add local spices and herbs to the tea such as cinnamon ginger and thyme Tea culture is an essential part of daily life for all layers of society providing a strong sense of cultural identity The bearers include tea farmers and harvesters tearoom owners tea makers and the artisans who make the associated tools utensils and sweets

Lipizzan horse breeding traditions were initially used to breed horses for the Habsburg imperial court in Vienna but today the Lipizzan horse plays a special role in the everyday cultural and social life of communities in rural areas They are included in events celebrations and festivities such as horse blessings carnival processions and parades The horses also play a key role in therapeutic riding and sustainable tourism The people who work at the state stud farms represent the main bearers of the element along with therapists craftspeople groups of equestrian sports military traditionalists local communities and farm visitors The values knowledge skills and practices are transmitted through handson experience seminars and training sessions as well as during festive and sporting events The practice is also part of the curricula of certain local primary schools and of all agricultural and vocational schools and agricultural and veterinary universities Lipizzan horse breeding has united communities for over 450 years generating a strong sense of shared identity including through its specialized vocabulary and the close emotional connection between breeders and horses

Chăm pottery products are mainly household utensils religious objects and fine art works including jars pots trays and vases They are made by women and viewed as an expression of individual creativity based on the knowledge transmitted within the community Instead of using a turntable the women revolve around the piece to shape it The pottery is not glazed but fired outdoors with firewood and straw for seven to eight hours at a temperature of about 800 degrees Celsius Raw materials clay sand water firewood and straw are collected locally and the knowledge and skills are passed on to younger generations within families through handson practice The practice gives women the opportunity to exchange and interact with each other in productive labour and social activities as well as in vocational education for their children further enhancing their role in society It can also help bolster family income and safeguard the habits customs and cultural identities of Chăm people in Viet Nam However despite many safeguarding efforts the viability of the craft is still at risk for several reasons including the impact of urbanization on access to raw materials insufficient adaptation to the market economy and lack of interest among younger generations

In 1997 the National Institute of Folk Culture NIFC began to implement the project Folk Trades and Handicrafts in the Czech Republic The project focused on the film documentation of traditional crafts The fieldwork to identify producers revealed that most workshops were struggling financially and had difficulty selling and creating their products The situation called for immediate action the renewal of contacts between producers and customers and awarenessraising on traditional crafts and their technologies In response to this situation the Ministry of Culture and the NIFC set up the Bearers of Folk Craft Tradition programme in 2000 which aims to support protect and safeguard traditional crafts In addition to accessing public awards grants and donations artisans and their products are protected by an exclusive trademark Further to documenting and researching traditional crafts the NIFC collects and assesses the collections of products by awardwinning producers Traditional crafts are assessed by artists and designers and awardwinning producers receive a set of printed promotional materials including leaflets business cards tags and a Bearers of Tradition brochure The public is kept informed through dedicated websites publications a DVD and a permanent exhibition in Chanovice

Traditional Ahlat stonework refers to the knowledge methods skills and aesthetic understanding surrounding the extraction of volcanic Ahlat stones shaping and ornamenting the stones and then using them to create structures and artefacts Ahlat stone is a volcanic stone extracted by miners from the foothills of the Mountain Nemrut in Türkiye The extracted stone is cut and shaped then ornamented by stone carvers with handheld tools The ornamentation on the Ahlat stone is formed by scraping relief and carving techniques generally using organic geometric and calligraphic shapes Building a structure with Ahlat stone requires specific techniques and knowledge Folk calendars and traditional knowledge of nature play important roles in the extraction of the stone by the miners as well as in construction In addition to architectural works such as houses mosques mausoleums and bridges the stones are also used in tombstones inscriptions fountains and other artefacts The practice has been transmitted from generation to generation for centuries but its viability has faced serious threats in the last decades including demographic changes difficulty finding new apprentices due to the sharp decline in population and migration to big cities and the widespread use of modern building techniques and materials in the region

Joumou or giraumon soup is a traditional Haitian pumpkin soup made with vegetables plantains meat pasta and spices It is a celebratory dish deeply rooted in Haitian identity and its preparation promotes social cohesion and belonging among communities Originally reserved for slave owners Haitians took ownership of the soup when they gained independence from France turning it into a symbol of their newly acquired freedom and an expression of their dignity and resilience It is made from giraumon a variety of pumpkin once cultivated by the indigenous peoples of the Caribbean and is prepared and consumed specifically on the first of January Haitis Independence Day when it constitutes the first meal of the year It also serves as traditional Sunday breakfast The preparation of Joumou soup is a family and community affair women manage the overall activities children help to prepare the ingredients artisans make the aluminium pots and other utensils used to prepare the soup and farmers work the land to harvest the vegetables Today several variations of the soup can be found in Caribbean and Latin American cuisines

The tradition of arranging flower carpets is inherently linked to the feast of Corpus Christi in Poland For the feast which typically involves a mass followed by a joyful procession from the church to the streets families in several villages use flowers to arrange colourful and symbolic carpets on the route of the procession usually on the road section in front of their homes The flower carpets cover the road running from the church through the village and can reach almost two kilometres in length The flowers used are picked from the surrounding fields or from family gardens Soil sand tree bark and freshly cut grass or calamus leaves may also be used Families start collecting flowers a few days before the celebration and begin the process of arranging the carpets early on the morning of Corpus Christi The preparation lasts several hours and the end result is an ephemeral and collective art piece meant to express religiosity creativity and an appreciation of the beauty of nature The tradition unites the entire community and has shaped local identity The practice has been passed on for generations especially within families Patternmaking workshops are also regularly held in schools with support from the parish and nongovernmental organizations

Fjiri is a musical performance that commemorates the history of pearl diving in Bahrain Dating back to the late nineteenth century it was traditionally performed by pearl divers and pearling crews to express the hardships faced at sea The performers sit in a circle singing and playing different types of drums finger chimes and a jahl a clay pot used as an instrument The centre of the circle is occupied by the dancers and the lead singer who is in charge of conducting the performance Fjiri originated on the Island of Muharraq where up until the midtwentieth century most of the population formed part of the pearling community However today the practice has reached a wider audience through performances in festivals across all regions of Bahrain It is now wellknown across the country and is viewed as a means of expressing the connection between the Bahraini people and the sea Fjiri is usually performed in cultural spaces called durs by descendants of pearl divers and pearling crews and by other individuals The transmission process usually entails consistently practicing in durs and performing for audiences Although it is performed by allmale groups Fjiri is enjoyed by all members of the community The words rhythms and instruments are used to convey the values of perseverance strength and resourcefulness

Ceebu jën is a dish that originated in the fishing communities on the Island of SaintLouis in Senegal Although recipes vary from one region to the next the dish is typically made with fish steak broken rice dried fish mollusc and seasonal vegetables such as onions parsley garlic chilli pepper tomatoes carrots eggplant white cabbage cassava sweet potato okra and bay leaf The quality of the fish and the choice of vegetables are determined by the importance of the event or the degree of affection one has for the guest The recipe and techniques are traditionally passed down from mother to daughter In most families ceebu jën is eaten with the hands although spoons or forks are usually used in restaurants The dish is also tied to specific cultural practices For instance it is forbidden to sit with a raised knee the bowl must be held with the left hand and grains of rice must not be dropped when eating The ceebu jën dish and associated practices are viewed as an affirmation of Senegalese identity

Boka Navy is a traditional nongovernmental maritime organization founded in Kotor Montenegro in 809 Its origin is linked to the arrival of the relics of St Tryphon the patron saint of the city of Kotor Comprised of a community of seafarers with military economic educational and humanitarian functions Boka Navy has played a memorial role for two centuries preserving and promoting maritime history and tradition Membership is voluntary and open to men women and children of all ages The organization is founded on the respect of human rights and of religious national and cultural diversity During formal celebrations members wear colourful traditional uniforms carry historic weapons and perform the traditional circle kolo dance Boka Navy is the backbone of the annual St Tryphon festivities which take place from 13 January through 3 February and include a procession and a series of rituals in the cathedral The external festivities begin with the Boka Navys traditional kolo circle dance and are followed by a procession carrying the relics of St Tryphon through the main town squares and streets Thousands of spectators attend the processions in the historic centre and observe the festive events Hundreds of women men and children also participate in preparations of the activities

Carolinian wayfinding and canoe making refers to the centuriesold tradition of building and navigating longdistance canoes Communities in Micronesia and particularly in the outer islands of Yap State continue the traditions of building the ocean voyaging sailing canoes from local materials and of navigating or wayfinding without maps or instruments The entire community participates in the construction of the canoe which begins with the selection and felling of a tree and involves a detailed measurement system based on an indigenous mathematical tradition that is both accurate and verifiable The carving is done almost exclusively with the indigenous adze The asymmetrical design supports highspeed sailing and allows access to shallow water Traditional wayfinders use environmental cues including atmospheric phenomena to navigate Although they have been lost in most Pacific nations these wayfinding and canoemaking traditions and technologies enabled the settlement of thousands of islands in the Pacific Ocean The practice is passed on through traditional apprenticeships led by master canoe carvers and navigators Today only a limited number of navigators and canoe carvers remain with few opportunities to pass on the knowledge and skills due to the reduced size of nuclear families and migration to high islands The element is also threatened by faster transportation alternatives and environmental degradation

Kyrgyz peoples cultural heritage is intrinsically linked to the nomadic lifestyle However during the Soviet era which came with forced sedentation many elements became endangered including traditional games After gaining independence in 1991 the local communities in Kyrgyzstan started working on revitalizing and celebrating their traditional culture In this context traditional game practitioners and knowledge bearers from different communities across the country held their first major meeting in 2007 to discuss current challenges for the traditional games and the safeguarding needs The participants identified many challenges but agreed that some of them were very urgent the first being the loss of knowledge about the traditional games and the second being the lack of interest among the younger generation to play the games After long discussions and deliberations the participants identified several safeguarding needs that shaped the Nomad Games Rediscovering Heritage programme The traditional game practitioners reached a consensus about the need to prioritize documentation and identification of traditional games in different parts of the country These goals were prioritized because many people knowledgeable about traditional games were older and there was a real threat of losing their knowledge about traditional games unless it was documented

In 1995 the Subcommission on Cultural Communities and Traditional Arts of the National Commission for Culture and the Arts NCCA the lead agency mandated to preserve promote and develop Philippine culture and the arts affirmed the need to safeguard traditional knowledge and practices from rapid cultural devaluation brought about by media tourism formal education and religion This paved the way for the creation of The School of Living Traditions SLT programme involving informal communitymanaged learning centres where practitioners can transmit their communities knowledge intangible cultural heritage skills and values to younger generations The identification of priorities for safeguarding was led by elders leaders and other members of communities through a series of consultations In the process the NCCA provided capacitybuilding assistance for the mobilization of logistics and other resources needed to establish the learning centres The SLT programme aims to develop implement and evaluate communitybased measures to safeguard vital traditional cultural knowledge and practices from the potential negative effects of modernization In 2015 the NCCA initiated the enhancement of the SLT programme This entails the implementation of sitespecific fiveyear community development programmes to support the transmission and viability of intangible cultural heritage in partnership with local communities and organizations

Malagasy kabary is a poeticized speech performed in front of an audience It is highly structured and consists of proverbs maxims rhetorical figures and wordplay The ritualistic style of speech was originally used by leaders to inform the community about social life and administration Over time communities started using it to communicate and for social events It thus became inseparable from social life in Madagascar used for festivities funerals official ceremonies and popular events Its function is to express values and thoughts that give collective meaning to material facts In practice Malagasy kabary takes place as a conventional dialogue usually involving two orators or mpikabary in front of a gathering It can last several hours but in certain circumstances such as during funerals the structure is simplified to last around ten minutes Although traditionally performed by older elite men today it is increasingly performed by young people and women At the family level it contributes to cohesion when performed at meetings where all generations are present and partake in the performance In the public sphere it is viewed as a means of strengthening relationships between groups and communities creating an atmosphere of sharing and cohesion

Arabic calligraphy is the artistic practice of handwriting Arabic script in a fluid manner to convey harmony grace and beauty The practice which can be passed down through formal and informal education uses the twentyeight letters of the Arabic alphabet written in cursive from right to left Originally intended to make writing clear and legible it gradually became an Islamic Arab art for traditional and modern works The fluidity of Arabic script offers infinite possibilities even within a single word as letters can be stretched and transformed in numerous ways to create different motifs Traditional techniques use natural materials such as reeds and bamboo stems for the qalam or writing instrument A mixture of honey black soot and saffron is used for the ink and the paper is handmade and treated with starch egg white and alum Modern calligraphy commonly uses markers and synthetic paint and spray paint is used for calligraffiti on walls signs and buildings Artisans and designers also use Arabic calligraphy for artistic enhancement such as for marble and wood carving embroidery and metal etching Arabic calligraphy is widespread in Arab and nonArab countries and is practised by men and women of all ages Skills are transmitted informally or through formal schools or apprenticeships

The art of traditional embroidery is widespread in Palestine Originally made and worn in rural areas the practice is now common in all of Palestine and among members of the diaspora Womens village clothing usually consists of a long dress trousers a jacket a headdress and a veil Each of these garments is embroidered with a variety of symbols including birds trees and flowers The choice of colours and designs indicates the womans regional identity and marital and economic status On the main garment the loosefitting dress called a thob the chest sleeves and cuffs are covered with embroidery Embroidered vertical panels run down the dress from the waist The embroidery is sewn with silk thread on wool linen or cotton Embroidery is a social and intergenerational practice as women gather in each others homes to practise embroidery and sewing often with their daughters Many women embroider as a hobby and some produce and sell embroidered pieces to supplement their familys income either on their own or in collaboration with other women These groups gather in each others homes or in community centres where they may also market their work The practice is transmitted from mother to daughter and through formal training courses

Falak meaning heaven fortune and universe is the traditional folklore music of the mountain people of Tajikistan The expressive and philosophical musical genre may be performed by a male or female soloist either acappella or with a single instrumental accompaniment or an ensemble and dancers Characterized by their high range falak songs most often relate to love pain suffering the homeland and separation and the hope of reunion between a parent and a child or between two lovers The instruments used for falak performances include traditional Tajikistani percussion and string instruments such as violins and flutes Falak performers known as falakkhons are the traditional singers and instrumentalists who perform falak during festivities ceremonies and ritual events However the music may be performed in many contexts including outdoors while working in the fields or looking after herds in the mountains or during feasts and social gatherings It is also performed during the annual Day of Falak festival Falak is viewed as a state of mind and an identity marker for the mountain communities The tradition is passed from one generation to the next within families and through formal education

Congolese rumba is a musical genre and a dance common in urban areas of the Democratic Republic of the Congo and the Republic of the Congo Generally danced by a malefemale couple it is a multicultural form of expression originating from an ancient dance called nkumba meaning waist in Kikongo The rumba is used for celebration and mourning in private public and religious spaces It is performed by professional and amateur orchestras choirs dancers and individual musicians and women have played a predominant role in the development of religious and romantic styles The tradition of Congolese rumba is passed down to younger generations through neighbourhood clubs formal training schools and community organisations For instance rumba musicians maintain clubs and apprentice artists to carry on the practice and the manufacture of instruments The rumba also plays an important economic role as orchestras are increasingly developing cultural entrepreneurship aimed at reducing poverty The rumba is considered an essential and representative part of the identity of Congolese people and its diaspora It is perceived as a means of conveying the social and cultural values of the region and of promoting intergenerational and social cohesion and solidarity

The tradition of calligraphy has always been associated with the act of writing in Iran and even when the writers had limited literacy calligraphy and writing were still intricately linked But with the advent of printing and the emergence of computer programmes and digital fonts this art gradually declined and the emphasis on pure readability replaced the observance of both readability and aesthetics This resulted in a decline in the appreciation of calligraphy among the new generations The safeguarding of the Iranian calligraphic tradition thus became a major concern in the 1980s and a national programme was developed for this purpose by non governmental organizations in collaboration with the government This programme aimed to expand informal and formal public training in calligraphy publish books and pamphlets hold art exhibitions and develop academic curricula while promoting appropriate use of the calligraphic tradition in line with modern living conditions Some of the work on this programme was started by the Iranian Calligraphers Association before the 1980s and given its immense popularity the public sector turned it into a national programme by redefining and coordinating it on a large scale based on the experiences of the public and private sectors

Epic poetry plays a crucial role in the musical and poetic heritage of the Uzbek and Karakalpak people of Uzbekistan Called dostons the traditional centuriesold poems are based on myths legends folk tales and legendary chants and address varied themes such as patriotism commitment love friendship and solidarity Bakhshi refers to the performance of these epic stories and original pieces with the accompaniment of musical instruments including the dombra a stringed instrument and the kobuz a bowed instrument The storytellers also called bakhshis perform the stories from memory incorporating cultural traditions and practices Successful bakhshis must have the ability to captivate listeners with their melodies and to narrate stories in an interesting and original way making creative use of language word games proverbs and phrases They must also be able to recite the long epic poems from memory Although bakhshis were traditionally men a group of women bakhshis emerged in the nineteenth century and continues to contribute to the tradition The practice is passed on within families and through formal bakhshi schools The art of bakhshi is a vital part of the Uzbek lifestyle and the storytellers are always welcoming guests in family ceremonies rituals public holidays and local festivities

Dating back to the late nineteenth century a corso is an annual parade of floats or boats decorated with flowers fruit vegetables and in some cases people in costumes Originating in the south of France and Italy the practice spread to the Netherlands in the nineteenth century The parade takes place in streets or on rivers and is often accompanied by bands and theatre performances some of which occur at night with illuminated floats Groups of friends or entire neighbourhoods often spend months preparing elaborate floats adding the fresh products flowers fruit and vegetables in the final days before the event The floats which can be up to 20 metres long and 10 metres high are propelled by motor or pushed manually The corso is a competition Neighbourhoods complete in creating the best float and the float judged best by the jury wins a prize But corso culture is about much more than the parade and competition Having a drink or meal together after working on the floats and organizing regular parties is an important part of the corso creating a sense of social cohesion and solidarity that is often peoples main motivation for participating in the event Corso culture is passed on through apprenticeships school programmes and participation in the annual parade

Falconry is the traditional art and practice of training and flying falcons and sometimes eagles hawks buzzards and other birds of prey It has been practised for over 4000 years The practice of falconry in early and medieval periods of history is documented in many parts of the world Originally a means of obtaining food falconry has acquired other values over time and has been integrated into communities as a social and recreational practice and as a way of connecting with nature Today falconry is practised by people of all ages in many countries As an important cultural symbol in many of those countries it is transmitted from generation to generation through a variety of means including through mentoring within families or in training clubs The modern practice of falconry focuses on safeguarding falcons quarry and habitats as well as the practice itself And while falconers come from different backgrounds they share universal values traditions and practices including the methods of breeding training and caring for birds the equipment used and the bonds between the falconer and the bird The falconry community includes supporting entities such as falcon hospitals breeding centres conservation agencies and traditional equipment makers

The pasillo is a type of music and dance that emerged in Ecuador in the nineteenth century during the South American independence wars It is a fusion of elements of indigenous music such as the yaraví with a complex variety of musical genres including the waltz the minuet and the Spanish bolero The pasillo which means small step is danced in short steps by a couple A product of urban culture it is performed in ballroom dances public ceremonies festivals radio and television programmes and outdoor concerts It is a dynamic everevolving practice that can be performed by soloists duos trios and ensembles Usually accompanied by guitars and the requinto a highpitched guitar it is essentially a musicalized poem with lyrics relating to love heartbreak life death family homeland and the daily life of the people To Ecuadorians the pasillo is an identity marker and a symbol of their connection with the homeland and with time has become a form of collective expression The music is performed by men and women and transmitted from generation to generation within families in formal training centres and through street musicians and popular or municipal bands

Moutya was brought to Seychelles by the enslaved Africans who arrived with the French settlers in the early eighteenth century They used to practise this dance at night in the forest at a distance from the plantation house where their masters lived Historically Moutya was a psychological comfort against hardship and poverty and a means of resisting servitude and social injustice A sensual dance with simple choreography it is traditionally performed around a bonfire The musical instrument used is a large drum with a narrow rim made of goat hide which is played mostly by men The dance begins with the heating of the drums over a bonfire Once the drums have been warmed the drummers set the beat and men in the crowd call out various themes usually social commentaries to which the female dancers respond in highpitched tones The men and women begin to dance to a moderate tempo involving hipswaying and feetshuffling The dancers come close but do not physically touch Moutya continues to be a form of expression of cultural identity to this day retaining its traditional dance form It is usually performed spontaneously within the community as well as at social gatherings and cultural events Moutya is transmitted informally through performance observation and imitation and formally through research documentation and dissemination

Sri Lankan Dumbara Rata Kalala or Dumbara mats are traditional handmade mats used as wall hangings tapestries or cushion covers The mats are made in two villages Kalasirigama and Alokagama by a community called kinnara that traditionally supplied ornamental mats to the royal palace as part of obligatory service to the crown and to ruling elites between the fifteenth and nineteenth centuries Today artisans weave the mats for local buyers and tourists Dumbara mats are made with the fibres of the hana plant and decorated with symbolic motifs and designs The plant fibres are separated by pressing the leaf against a log with a sharpedged piece of wood to scrape away the fleshy parts The fibres are then washed sundried combed and dyed using traditional herbal dyes made with natural materials from the Dumbara valley The mat is created with a loom and motifs and designs are added using a lath a flat narrow strip of wood with a hole at one end The weaver inserts strands of fibre into the hole then pulls the lath through the yarns on the loom to create the desired motif Dumbara mats are a traditional item of great cultural significance for Sri Lankans and the practice is transmitted from parents to children through observation and practice

Alnaoor is a wooden wheel that rotates on its axis It is used on the streams of the Euphrates River in Iraq where water levels are lower than the adjacent fields In order to raise the river water to the fields the communities devised the alnaoor wheel The wheel is made of twentyfour columns of wooden sticks and twentyfour clay jugs attached to the outer circumference with palm leaf ropes Ranging between eight and twelve metres in diameter the wheel is installed vertically between two stone pedestals on the streams of the river As the current causes the wheel to rotate the jugs collect the water from the river carry the water to the top of the wheel and pour it into the waterways leading to the fields The day of the alnaoor mounting is marked by celebrations including traditional poetry performances singing and dancing More recently the energy produced by the alnaoor wheel has also been used to generate electricity and to operate the water mills used to grind grain for flour Alnaoor is a source of livelihood for many including the artisan carpenters pottery makers and builders involved in its construction

Drum dancing and drum singing are indigenous forms of Inuit artistic expression and music in Greenland Drum dances and songs are frequently performed during national holidays festive celebrations and social events by a single person or a group A single drum dancer may also perform with a choir During a drum dance the performer lightly bends his or her knees leaning slightly forward The drum or qilaat is lifted and lowered in different directions and a stick made of bone or wood is struck rhythmically against the frame of the drum to produce a sharp echoing percussive beat The drum song is a lyrical narration that provides a melodious accompaniment to the monotonous beat of the drum Drum songs often touch on the experiences and activities of daily life in Greenland and common topics include love longing humour and hunting For Greenlandic Inuit drum dancing and singing embodies a shared identity and a sense of community as well as a means of creating continuity between the past and the present The practices are perceived as symbols of equity and equality in Greenland and are universally recognized as belonging to everyone regardless of age gender social status or political views

The Hüsni hat is the centuriesold practice of writing letters of Arabic origin in a measured and proportional manner while taking into consideration certain aesthetic values Traditional tools include a specific type of paper glazed with organic substances a reed pen pen knives a special slab for trimming the reed pen an inkwell soot ink and a pen case Many calligraphers or hattats make their own tools and they play an important role in the transmission of the Hüsni hat tradition passing on their knowledge craft skills and values through apprenticeships The Hüsni hat can be written on paper or leather It may also be applied on stone marble glass and wood among others There are many different styles of Hüsni hat and the practice was traditionally used to write the Koran hadiths statements of the Prophet Muhammad and poetry as well as for State correspondence such as imperial edicts and warrants and on religious and public buildings In Islam Hüsni hat is seen as a means not only of writing ideas but of depicting them visually To this day Hüsni hat is still used in sacred and literary works and on mosques Turkish baths and temples

Nordic clinker boats are small open wooden boats between five and ten metres long For almost two millennia the people of the Nordic region including the indigenous Sami peoples in Finland Norway and Sweden and minority groups such as the Kvens in Norway the Tornedalians in Sweden and the Swedishspeaking population in Finland have been building clinker boats using the same basic techniques thin planks are fastened to a backbone of the keel and stems and the overlapping planks are fastened together with metal rivets treenails or rope The shell of the boat is strengthened with frames Clinker boat builders emphasize the long time it takes to acquire the knowledge and skills for building traditional boats In the past it was common to start training with a master from a young age and it would take up to ten years to learn the trade A symbol of common Nordic coastal heritage clinker boats were traditionally used for fishing and to transport materials and people Today they are primarily used in traditional festivities regattas and sporting events even though about a thousand persons make a full or partial living through the production maintenance or use of clinker boats Clinker boat traditions include social practices For instance once finished boats may be ceremonially carried to the water where they are then given a name and wished good fortune traditional songs may be sung during sailing and rowing

Tais the handwoven traditional textile in TimorLeste plays an important role in the life of Timorese people The textile is used for decoration and to create traditional clothing with specific styles for men and women People use Tais to welcome newborns as well as for traditional ceremonies and festivals Tais is also a means of expressing cultural identity and social class as the colours and motifs used vary from one group to the next Finally the textile is used as an object of value such as for dowries or to strengthen ties between families Made from cotton dyed with natural plants Tais is traditionally handwoven using simple equipment The production process however is quite complex and timeconsuming and entails preparing and dyeing the cotton and weaving the material Although men may participate in the process by gathering plants to dye the cotton and making the equipment the production of Tais is a role reserved for women who are also responsible for passing the knowledge and skills on to the next generation The practice is threatened by several factors including a preference for modern clothing among younger generations the replacement of local handmade materials with industrial alternatives inadequate income generation and an everdecreasing number of weavers

The MBolon is a musical instrument with a large calabash sound box covered with cowhide and a bowshaped wooden neck with strings To amplify the sound vibrations the player often wears a belllike device made of metal plates with small ovalshaped lobes This device is fitted with small iron rings and attached to the players hand by means of a pad with cords or an elastic band The number of strings of the MBolon determines how it is used Singlestringed and twostringed MBolon are used for popular events and celebrations as well as for rituals and religious ceremonies Threestringed and fourstringed MBolon are the most common They are used to accompany the praising of traditional chiefs celebrate the heroic deeds of kings accompany farmers in the fields and rouse warriors The MBolon can be played on its own or with other instruments including the xylophone talking drum and lutes It is played in southern Mali by people of all ethnicities genders and religions and is taught through apprenticeships and by local associations However there is a limited number of initiates and the practice is threatened by factors such as urbanization the introduction of religions that prohibit traditional initiatory rites and practices and decreasing interest among youth

The Estonian expanded dugout boat from the Soomaa region is a canoelike boat hollowed out from a single tree usually aspen with expanded sides and a shallow base The building of a dugout boat is a complex process beginning with the identification of a suitable tree and culminating with the boats launch Dugout boatbuilding is a communal activity involving masters apprentices and other community members The practice is transmitted through apprenticeships and formal studies and it is accompanied by storytelling about legendary masters and their boats Dugout boats form an essential part of everyday culture for Soomaa residents Until the midnineteenth century they were used for daily transport and fishing With the advent of modern and cheaper boat types and extensive road networks dugout boats are no longer indispensable for everyday life Despite their continued cultural significance and recreational uses including for nature trips and hobby fishing the element is also threatened by factors such as a lack of knowledgetransfer between masters and apprentices weak demand for boatbuilding and use the limited availability of raw materials and declining populations in the Soomaa region Consequently only five master practitioners remain and for the past two decades only one or two dugout boats have been built each year

Ghana pronounced ana is used to describe three related types of rhymed folksong in Malta The most popular form of ghana is the quickwit ghana an improvised duel between one or two pairs of singers focusing on rhymes convincing argumentation and witty repartee Factual ghana is a long narrative poem sung by a soloist usually from memory to record important local events in collective memory Bormla ghana has simple lyrics sung using a large vocal range and a particular vocal style where a single syllable is sung while moving between several notes in succession This third style was historically sung by women but has declined in popularity today compared to the more maledominated quickwit style Ghana sessions are held yearround in public and private venues as well as during openair festivals and celebrations A strong camaraderie develops between the performers and the audience through friendly exchanges as the practice of sharing jokes and recalling common experiences fosters a sense of shared history identity and community An integral part of Maltese culture ghana is also considered vital to the transmission and development of the unique Semitic Maltese language that reflects the Arabic Italian and English influence on the island

The Venezuelan Saint John the Baptist celebrations feature practices and knowledge that originated in the eighteenth century in AfroVenezuelan communities associated with former colonial estates From the beginning the festivities have been heavily influenced by Catholicism but they are also rich in verbal musical and physical expressions connected to subSaharan Africa For followers called Sanjuaneros the celebration is a symbol of cultural resistance and freedom and a means of remembering their enslaved ancestors In many communities the festivities start in early May They are characterized by joyful drumming dancing storytelling and singing and by processions with a statue of Saint John the Baptist Each community has its own form of dancing and singing The exact dates of the festivities vary from one region to the next but the most important dates are 23 and 24 June On 23 June the Sanjuaneros visit with friends and go to churches and casas houses of Saint John the Baptist On 24 June the image of the saint is baptized in the local river to commemorate the biblical event Many devotees also go into the river to be blessed by the saint Although the end of the cycle varies in most places the celebrations end on 16 July The practices and knowledge are transmitted within families and through community groups and schools

Kaustinen folk music is a Finnish tradition where the fiddle violin although not the only instrument is the main melodic instrument It is in fact the violin with or without other instruments that cadences the dances or the songs Based on playing by ear it is characterized by syncopated and accented rhythms that are easy for people to dance to The distinctive style and playing technique of Kaustinen folk music have existed for over 250 years and there is a repertoire of several hundred tunes from the area Kaustinen folk music is played in many contexts in private in organized groups during public celebrations and ceremonies including wedding parties at concerts and public jam sessions and at the annual Kaustinen Folk Music Festival Performers often wear traditional costumes Most inhabitants of Kaustinen and neighbouring communities consider this music an essential aspect of their personal and community identity even if they are not practitioners themselves It is felt to represent a sense of belonging and viewed as a means of strengthening crossgenerational ties The significance of the practice is evident in the names of public spaces and in symbols such as the presence of the fiddle in the Kaustinen coat of arms

The Corpus Christi festival is a religious festival in Panama that celebrates the body and blood of Christ The festival combines Catholic tradition with popular practices and festivities and is characterized by theatre music burlesque dances and colourful costumes and masks A day before the festival a theatrical and musical performance depicts the battle between good St Michael the Archangel and evil the great devil and his legion in the fight over the human soul Participants then dance in a procession that follows a priest carrying the monstrance a metal receptacle in which the Host is exposed In Catholic tradition the Host is the consecrated bread of the Eucharist representing the sacrifice of the Body of Christ In some communities the dancing is performed on a carpet made of flowers After the procession participants dance freely and gather on the streets and in family homes where food and drinks are shared The knowledge and skills related to the festival are passed on through participation in the festival and the involvement of youth in dance groups maskmaking teams and sawdust carpet teams

The Community Festivities of Campo Maior is a popular event during which the streets of Campo Maior in Portugal are decorated with millions of paper flowers in various shapes colours and patterns The community which is organized in street commissions decides the date and develops the concept of the decorative elements and the colour theme Members then work on the decorations over a period of nine months Preparations typically take place at night in homes or in storage areas The practice strengthens creativity and community belonging and there is a sense of a friendly competition between street commissions to see which street will have the most original and colourful design The decorations are thus kept secret until the eve of the festivities when the town is completely transformed overnight The result is the creation of a colourful festive town with open doors and no social distinctions On the day of the festival the community fills the streets The Community Festivities started as a religious celebration called Festivities in Honour of St John the Baptist Although they havent had that title since 1921 the saints presence still endures with his image carried through the streets in a small procession The practice is transmitted within families and in schools

Gamelan refers to the traditional Indonesian percussion orchestra and to the set of musical instruments used Consisting primarily of ornate percussive instruments made of handforged metal the ensemble typically includes xylophones gongs gongchimes drums cymbals string instruments and bamboo flutes Gamelan music follows precise rules and techniques regarding tuning layout rhythmic and metric patterns and performance For instance the melody is played simultaneously by a group of instruments and multiple instruments may play interlocking parts to form a single rhythm The music is played by men women and children of all ages and is typically performed in religious rituals ceremonies traditional theatre festivals and concerts It is also used for music therapy and is viewed as a means of expression and as a way of establishing a connection between humans and the universe Gamelan is an integral part of Indonesian identity dating back centuries archaeological evidence of the practice has been found in the relief sculptures of the eighthcentury Borobudur temple Practitioners include vocalists and instrumentalists as well as instrumentmakers and tuners An important source of national pride Gamelan continues to be passed down from generation to generation through informal and formal education including in school and afterschool activities

Örnek is a Ukrainian system of symbols and their meanings currently used in embroidery weaving pottery engraving jewellery wood carving and glass and wall painting The symbols are arranged to create a narrative composition The Crimean Tatar communities understand the meaning of the symbols and often commission artisans to create certain compositions with specific meanings Geometric ornaments are primarily used in weaving whereas floral ornaments are used in all other folk crafts including those not traditionally practised by Crimean Tatars such as glass painting wall painting or canvas wall art Common symbols include plants and trees symbolizing people of different genders and ages There are around thirtyfive symbols in total each with its unique meaning and connotations For instance a rose symbolizes a married woman a poplar or cypress symbolizes an adult man a tulip symbolizes a young man and an almond symbolizes an unmarried woman or girl A carnation symbolizes an older person wisdom and life experience The symbolism of the floral ornaments is always emphasized by the unique colour palette and symbol combinations For instance a tulip within a rose symbolizes the love or union of a man and a woman Many symbols are used as protective charms The associated knowledge and skills are transmitted by skilled artisans within families and communities in informal contexts such as embroidery classes and in formal contexts such as universities

Nora is a lively and acrobatic form of dance theatre and improvisational singing from southern Thailand Performances normally include a long oral invocation followed by a presentation by a lead character who dances with vigorous and elaborate movements of the legs arms and fingers The performances are usually based on stories about the former lives of Buddha or about legendary heroes An ensemble plays highly rhythmic and fastpaced music with a traditional southern oboe providing the melody and strong rhythms produced by drums gongs cymbals and wooden clappers The main Nora performers whether male or female wear colourful costumes with crowns or headdresses beads birdlike wings tied around the waist ornate scarves and swan tails that give them a birdlike appearance Performers also wear long metallic fingernails that curl out from the fingertips Nora is a communitybased practice with deep cultural and social significance for the people of southern Thailand Performances use regional dialects music and literature to reinforce cultural life and social bonds among local people Over five hundred years old Nora is performed in local community centres and at temple fairs and cultural events and is passed on through training by masters in homes community organizations and educational institutions

Namur stilt jousting is a tradition dating back to the early fifteenth century During a stilt joust participants attempt to knock all the members of the opposing team to the ground Stilt jousters are grouped into two teams the Mélans with yellow and black stilts representing the old town and the Avresses with red and white stilts representing the new town and neighbouring villages However today applicants join a team based on affinity rather than on location Each stilt joust starts with a procession made up of the two teams preceded by their flags drums and fifeplayer The drums herald the procession set the rhythm of the march and energize the joust Stilt jousts usually take place during festivals in the streets and squares of Namur Entry is free and spectators gather around the jousting zone and cheer on their favourite team and jousters Jousters range from 7 to 70 years old and although historically allmale in 2018 the stilt jousting association called Les Échasseurs Namurois opened up training to women and girls Stilt jousting is a strong marker of Namurs identity and is seen as a factor of cohesion and integration for the inhabitants of the city

Xòe is a form of Vietnamese dancing with movements that symbolize human activities in ritual culture life and work It is performed at rituals weddings village festivals and community events There are three main types of xòe ritual circle and presentational The ritual and presentational xòe dances are named after props used during certain performances For instance there is scarf xòe conical hat xòe fan xòe bamboo pole xòe music xòe stick xòe and flower xòe But the most popular form is circle xòe wherein dancers form a circle and perform in harmony The basic movements include raising and opening the hands then lowering them and clasping the hands of the adjacent person The dancers follow rhythmic footsteps slightly arching the chest and leaning backwards Although simple the dance movements symbolize wishes for community health and harmony The dance is accompanied by various musical instruments including gourd lutes mouth organs drums gongs cymbals and reed flutes The instrumental music blends with the vocals and the jingling of the silver jewellery hanging around the waists of the women Transmitted from generation to generation within families dance troupes and schools the xòe dance has become a symbol of hospitality and an important identity marker for the Tai people in northwestern Viet Nam

AlQudoud alHalabiya is a form of traditional music from Aleppo with a fixed melody Sung for religious and entertainment purposes the lyrics vary according to the type of event Wellversed singers can improvise lyrics according to what is happening around them They are known to use deep vocals and to reach a peak while holding a long note or repeating a phrase sending their audiences into what is referred to as tarab or exultation Communities describe the emotional state they experience when performers reach this peak as being drunk without drinking The audience plays a key role in inspiring the performers creativity They traditionally dance to the music by holding their arms out and moving the upper body Qudoud music is accompanied by a musical ensemble Aleppans continue to perform the music in the alleyways and souks of the old city Influenced by social changes while retaining its traditional elements qudoud has also spread to other parts of the city Lyrics of a nonreligious nature have been added telling stories of life love tradition and honour sometimes taken from popular poetry Qudoud is a vital part of Aleppan culture and is viewed as a source of resilience particularly during war Knowledge is transmitted informally between mentors and youth and formally through school curricula media broadcasts and programmes

Dutar is a traditional instrument and musical genre from Turkmenistan The dutar instrument is a longnecked twostringed lute with a pearshaped body covered by a thin wooden sounding board The resonating body and soundboard are made from a piece of mulberry wood and the neck is made with the dried trunk of an apricot tree To make the body of the dutar the wood is rounded hollowed out and polished The wood for the cover is baked for up to twentyfour hours to remove humidity then glued over the hollow of the dutar using bone glue Finally the neck frets and strings are added and the instrument is tuned The dutar is an inseparable part of Turkmen culture and is used in all of the main genres of Turkmen music and singing The music is divided into two types dutarchy which refers to music played alone and bagshy which refers to music accompanied by singing There are also several subtypes For instance a dessanchy bangshy is an epic performance incorporating narration singing and vocal improvisation thus alternating poetry and prose In Turkmenistan dutar music is an essential part of festivities ceremonies national celebrations cultural festivals social gatherings and entertainment programmes

The Awajún people of northern Peru view pottery as an example of their harmonious relationship with nature The pottery preparation process comprises five stages the collection of materials modelling firing decorating and finishing Each stage of the process has a meaning and associated values that are told in the peoples oral traditions The process also entails the necessary skills and knowledge to create and decorate the pots Artisans use specific tools including grinding and polishing stones a wooden board a modelling tool and a paint brush made of human hair The pots are decorated with geometrical patterns inspired by elements of nature such as plants animals mountains and stars They are used for cooking drinking eating and serving food as well as for rituals and ceremonies But they also play an important social role Seen as a means of expressing ones personality generosity and intimate life the thousandyearold practice has permitted the empowerment of Awajún women who look after and sow the plants they use to make and decorate their pots The main bearers of the Awajún pottery knowledge lore and traditions are the Dukúg wisewomen female elders who pass the practice on to other women in their families

Songket is a traditional Malaysian handwoven fabric created by women in the Malay Peninsula and Sarawak The term songket refers to the decorative weaving technique used to make the fabric which entails inserting gold or silver thread in between the base threads As a result the extra threads seem to float over a colourful woven background to create an ornamental effect Songket is woven using a kek a traditional twopedal floor loom The final product is a delicate fabric resulting from months of skilled handloom weaving by expert artisans The weaving technique which dates back to the sixteenth century is passed on from generation to generation and the songket style can be identified by the design patterns that use geometric shapes and organic elements such as flowers birds and insects The songket material was traditionally worn only by royalty and their families However today it is used by Malay people all over the country in traditional ceremonial clothing for royal installations weddings births festive occasions and formal state functions Although the weaving of songket has always been firmly in the hands of women men also partake in the practice by making the weaving equipment

Tbourida is a Moroccan equestrian performance dating back to the sixteenth century It simulates a succession of military parades reconstructed according to ancestral ArabAmazigh conventions and rituals Each tbourida is performed by a troupe made up of an odd number of riders and horses between 15 and 25 The riders line up side by side with the leader of the troupe in the middle They often give spiritual significance to the event performing ablutions and praying collectively beforehand Under the direction of the leader the riders and horses perform a parade composed of two principal parts The first is the hadda or salute in which the riders enter the course at a trot and perform an acrobatic arms drill then reposition themselves at the starting point This is followed by the talqa in which the troupes set off again at a gallop and fire a round of blanks from their rifles simulating a collective departure for war The riders wear period costumes and accessories including a turban draped clothing and oriental slippers They also carry a small copy of the Koran and an ancient Arab sword The horses are bridled and saddled with material sewn and decorated in the traditional manner The riders customs and costumes represent their tribe or region and transmission takes place from generation to generation within families through oral traditions and by observation

The Grand Festival of Tarija takes place in the city of Tarija in the southeast of Bolivia Celebrated every year in August and September it involves devotional processions music festivals competitions and fireworks dedicated to Saint Roch The festival has its origins in the colonial period when the inhabitants of the city entreated the saint to cure epidemics and diseases and to protect their loved ones It is founded on religiosity and faith preserved and transmitted within families and in the Catholic community During the festival processions cross the main streets of Tarija visiting the cathedral and temples and churches with believers showing their devotion through dances music and prayers Pilgrims in colourful costumes and masks perform music and dances and neighbours decorate the temples and streets through which the procession is to pass and organize sport and cultural activities The Grand Festival of Tarija is characterized by regional crafts traditional dishes and the absence of alcoholic drinks

In Kenya traditional foodways were under threat due to historical factors and the pressure of modern lifestyles Local foods were looked down upon and were associated with poverty and backwardness Understanding that a decline in food diversity and knowledge would have serious ramifications on health and on food and nutrition insecurity in 2007 Kenya committed to safeguarding related practices and expressions Two main initiatives were launched in collaboration with scientists and community groups The first involved inventorying traditional foods with a focus on traditional vegetables About 850 indigenous plants with local names were recorded This was followed by the detailed documentation of use and related indigenous knowledge including recipes and practices such as ceremonies Finally came rigorous promotion of the foods For the second initiative UNESCO in partnership with the Department of Culture and the International and National Museums of Kenya and in consultation with community leaders initiated a pilot project to identify and inventory traditional foodways in partnership with primary school children to raise awareness about the threat to traditional foodways Both initiatives have since led to other related activities carried out independently by local institutions and several similar initiatives have been launched among other communities in Kenya Ethiopia and Burkina Faso

Italian truffle hunting and extraction is a set of knowledge and practices that has been transmitted orally for centuries Today it still characterizes the rural life of entire communities in the Italian peninsula Truffle hunters or tartufai usually live in rural areas and small villages There are two steps to truffle hunting the hunting and the extraction The hunting entails the identification of areas where the truffle plant grows from whose roots grows the underground fungus named truffle This step is carried out with the help of a trained dog The hunters then use a special spade that allows them to extract the truffles without disturbing the soil conditions Truffle hunting involves a wide range of skills and knowledge about climate the environment and vegetation related to the management of natural ecosystems and to the dogtruffle hunter relationship This knowledge is passed on through oral traditions including stories fables anecdotes and expressions that reflect the local cultural identity and create a sense of solidarity within the truffle hunting community Truffle hunting is often associated with popular feasts that mark the beginning and end of the truffle season The practices respect ecological balance and plant biodiversity ensuring the seasonal regeneration of the truffle species

Visoko is a traditional practice of multipart singing that is unique to the Bulgarian villages of Dolen and Satovcha in the Blagoevgrad region There are three types of multipart songs typical of Visoko lowpitched highpitched and a combination of the two Lowpitched singing consists of sustained singing by two vocal parts Highpitched singing also includes two vocal parts but is characterized by repeated outcries from both voices an octave above the basic tone These outcries are followed by a downwards slide and a recitative uttering of the lyrics in the low register The third type of Visoko song entails a combination of lowpitched and highpitched singing with all four vocal parts Visoko lyrics typically evoke nature In the past visoko songs also known as summer songs were sung outdoors by women working in the fields While hoeing or harvesting a group of women called out Visoko songs from one field and a second group replied from another Today the main performers of Visoko are women and girls in singing groups from community centres in the two villages This highpitched multipart singing is a key identity marker for the Dolen and Satovcha communities It is a cherished tradition that distinguishes them from neighbouring villages

Durga Puja is an annual festival celebrated in September or October most notably in Kolkata in West Bengal of India but also in other parts of India and amongst the Bengali diaspora It marks the tenday worship of the Hindu mothergoddess Durga In the months preceding the festival small artisanal workshops sculpt images of Durga and her family using unfired clay pulled from the Ganga River The worship of the goddess then begins on the inaugural day of Mahalaya when eyes are painted onto the clay images to bring the goddess to life It ends on the tenth day when the images are immersed in the river from where the clay came Thus the festival has also come to signify homecoming or a seasonal return to ones roots Durga Puja is seen as the best instance of the public performance of religion and art and as a thriving ground for collaborative artists and designers The festival is characterized by largescale installations and pavilions in urban areas as well as by traditional Bengali drumming and veneration of the goddess During the event the divides of class religion and ethnicities collapse as crowds of spectators walk around to admire the installations

Pantun is a form of Malay verse used to express intricate ideas and emotions It is the most widespread oral form in maritime Southeast Asia and has been used in many parts of the region for at least 500 years Pantun has a clear abab rhyme scheme The fourline variety is the most common Pantuns may be transmitted in music song and writing Seventy per cent of verses are devoted to expressing love of a romantic partner family the community and the natural world Verses can be recited at weddings customary rituals and official ceremonies Pantun offers a socially acceptable way to express oneself indirectly in a polite way It is also an instrument of moral guidance as verses often contain religious and cultural values such as restraint respect kindness and humility Pantun has also been used as a diplomatic form of conflict resolution as it offers a way to gently evoke important issues Harmony with nature and flexibility in human relationships are also lauded ideals Pantun is formally taught in schools artistic workshops and through informal means

The conservation and transmission of wooden architecture in Japan consists in a set of traditional skills techniques and knowledge Roughly seventy per cent of the country is forested Therefore wood has been used in houses since ancient times In fact the worlds oldest surviving wooden structure is the Horyuji temple that was built in the early seventh century Some examples of the seventeen skills described in the nomination file include sakan plastering the harvesting of Japanese cypress bark lacquer painting of traditional structures the production of tatami mats flooring material and many more Until the nineteenth century master craftsmen trained apprentices as successors to transmit knowledge of the traditional skills Due to modernization however this process became more difficult so preservation associations were formed Knowledge includes not only techniques for building new structures but also restoring existing ones Due to the countrys hot and humid climate repair work must happen often At restoration sites craftspeople with different skills must complete the work together Some maintenance work also requires the involvement of local residents For example reed or straw thatch on a roof needs to be completely renewed every twenty years which is a labourintensive job The element thus serves a social function by fostering cooperation and social cohesion and strengthens Japanese peoples sense of cultural identity

The Ong Chun ceremony and related practices are rooted in folk customs of worshipping Ong Yah a deity believed to protect people and their lands from disasters Developed in Chinas Minnan region between the fifteenth and seventeenth centuries the element is now centered in the coastal areas of Xiamen Bay and Quanzhou Bay as well as in the Chinese communities in Melaka Malaysia Those who died at sea are considered as good brothers who become lonely wandering souls The ceremony begins by people gathering at the seaside to welcome Ong Yah to temples or clan halls while lamp poles are erected to summon good brothers and deliver them from torment In this way the element has been celebrated as doing good deeds Performances head the procession and clear a path for Ong Yahs barge wooden or papermade models These performances include gaojia and gezai opera different dances comprising dragon and lion dances and puppet shows among many others The element evokes the historical memory of ancestors oceangoing reshapes social connections when confronted with emergencies such as shipwrecks and honours the harmony between man and the ocean It also bears witness to the intercultural dialogue among communities

The Polyphonic Caravan is a longstanding project aimed at researching safeguarding and promoting the Epirus polyphonic song Performed for centuries the Epirus polyphonic song is performed by a group of singers with two to four distinctive roles among them and touches on almost every aspect of life such as childhood marriage death historical events and pastoral life In the aftermath of WWII and the ensuing Greek Civil War the element gradually became sporadic after the inhabitants of Epirus started migrating to large urban centers in Greece and abroad Eventually very few experienced performers remained in the villages In the mid1990s a group of young people internal migrants from Epirus formed the first polyphonic group Chaonia in Athens Realizing the threats the element was facing and the need to cultivate fertile ground for it in the new urban environment they decided to undertake initiatives to safeguard and promote the element After Chaonias first concert in 1997 they founded the non governmental organization Apiros Polyphonic Caravan Their primary objectives were to raise awareness about the practice document it through extensive field research create bridges across generations and geographical boundaries and bring everyone that sings the polyphonic song of Epirus together These goals remain at the core of the projects philosophy to this day Through its twentyyearlong activity the Polyphonic Caravan has critically contributed to strengthening the viability of the practice and enhancing it in an everchanging social environment

The knowledge knowhow and practices pertaining to the production and consumption of couscous encompass the methods of preparation manufacturing conditions and tools associated artefacts and circumstances of consumption of couscous in the communities concerned Preparing couscous is a ceremonial process involving several different operations These begin with growing the cereal after which the seeds are ground to obtain a semolina that is rolled by hand steamed and then cooked These practices are associated with a set of exclusive tools instruments and utensils The dish is accompanied by a variety of vegetables and meats depending on the region season and occasion Nowadays as in the past the methods involved in preparing couscous constitute a sum of knowledge and knowhow that is transmitted informally through observation and imitation For the manufacture of the utensils clay utensils are made by potters while wooden utensils are produced by cooperatives or artisanal factories which are often familyowned In recent decades however more formal transmission has also developed outside the family circle or home The nonculinary aspects of the element namely rituals oral expressions and certain social practices are also transmitted by the bearers Couscous is a dish replete with symbols meanings and social and cultural dimensions all linked to solidarity conviviality sharing meals and togetherness

The practices and traditional knowledge of Terere in the culture of Pohã Ñana Guaraní ancestral drink in Paraguay are widespread in the Paraguayan territory and involve a variety of bearers Terere is a traditional drink prepared in a jug or thermos in which cold water is mixed with Pohã Ñana crushed in a mortar It is served in a glass prefilled with yerba mate and sucked with a bombilla metal or cane straw Preparing the Terere is an intimate ritual involving a series of preestablished codes and each Pohã Ñana herb has health benefits linked to popular wisdom passed down through the generations Terere practices in the culture of Pohã Ñana have been transmitted in Paraguayan families since approximately the sixteenth century Traditional knowledge about the healing attributes of the medicinal herbs that make up the Pohã Ñana and their correct use are also transmitted spontaneously within the family In recent years the figure of apprentices has risen but family transmission remains the main mode of transmission The practice of the Terere in the culture of Pohã Ñana fosters social cohesion as the time and space dedicated to preparing and consuming the Terere promote inclusion friendship dialogue respect and solidarity The practice also strengthens new generations appreciation of the rich cultural and botanical heritage of Guaraní origin

The craft tradition Handmade weaving in Upper Egypt Saeed is a complex process that requires time effort patience and practice Many steps and techniques are involved in the loom preparation threading and weaving to achieve the final product it is a work of precision and intricate workmanship For centuries men and women have used their inherited knowledge and artistic talent to create embroidered textiles both as a family legacy and as a profession The basic principles have remained the same as those used in the past whether for linen cotton wool or silk However factories that used to weave with expensive silk yarn have gradually shifted to cotton as it is more financially rewarding and the small narrow looms have been replaced with wider ones Handloom weaving is considered as a source of identity and pride for the communities concerned and the persistence of handloom terminology attests to its deeprooted significance for them The practice currently faces many threats however Weaving is no longer lucrative weaving at home requires unused space to accommodate the loom and the working materials are expensive The craft is therefore neglected and not transmitted as it was in the past It is believed that training a new generation of young people in this trade would provide a solution to the escalating problem of unemployment in the communities concerned

Sauna culture in Finland is an integral part of the lives of the majority of the Finnish population Sauna culture which can take place in homes or public places involves much more than simply washing oneself In a sauna people cleanse their bodies and minds and embrace a sense of inner peace Traditionally the sauna has been considered as a sacred space a church of nature At the heart of the experience lies löyly the spirit or steam released by casting water onto a stack of heated stones Saunas come in many forms electric woodheated smoke and infrared Approaches vary too with no hierarchy among them Sauna traditions are commonly passed down in families and though universities and sauna clubs also help share knowledge With 33 million saunas in a country of 55 million inhabitants the element is readily accessible to all Traditional public saunas in the cities almost disappeared after the 1950s In recent years new public saunas have been constructed thanks to private initiatives

Traditional intelligence and strategy game Togyzqumalaq Toguz Korgool MangalaGöçürme is a traditional game which can be played on special boards or improvised ones such as pits on the ground The game can be played with pellets made of stone wood metal and bone nuts or seeds which are distributed across the pits the player who gathers the most pellets wins the game There are several variations of the game For example the board can have two three four six or nine pits arranged in order according to the number of players and the duration varies according to the number of players In the submitting States the element is linked to other traditional crafts such as wood and stone carving and jewellery making Wood and stone carving masters and jewellers make elaborately decorated boards and pellets as well as practical ones reflecting traditional worldviews and their artistic creativity The game improves players cognitive motor and social skills and strategic and creative thinking and teaches them to be patient and considerate It is transmitted both informally and through formal education Recently the communities concerned have also developed mobile device applications for learning andor playing the game which provide a new way of transmitting related skills and increasing the visibility of the practice among younger generations

The miniature is a type of twodimensional artwork that involves the design and creation of small paintings on books papiermâché rugs textiles walls ceramics and other items using raw materials such as gold silver and various organic substances Historically the miniature was exemplified by book painting in which the text was supported visually but the element has evolved and can also be observed in architecture and as an adornment in public spaces The patterns of the miniature represent beliefs worldviews and lifestyles in a pictorial fashion and also gained a new character through the Islamic influence While there are stylistic differences between them the art of miniature as practised by the submitting States Parties shares crucial features In all cases it is a traditional craft typically transmitted through mentorapprentice relationships nonformal education and considered as an integral part of each societys social and cultural identity The miniature displays a specific type of perspective in which the size of the figures changes according to their importance a key difference from realistic and naturalistic styles Though it has existed for centuries it continues to develop and thus strengthens the bonds between past and present Traditional painting principles and techniques are preserved but artists also bring individual creativity into the process

The traditional knowledge and techniques associated with Pasto Varnish mopamopa of Putumayo and Nariño encompass three traditional trades harvesting woodwork and decorative varnishing The practice involves harvesting the buds of the mopamopa tree in the jungles of Putumayo the wood processing carried out by carpenters lathe operators and carvers in the Department of Nariño and decorating objects with varnish made from the resin obtained from the mopamopa Harvesting the mopamopa requires knowledge of the forest trails climbing trees the timing and exact size of the buds to be harvested delicately harvesting without damaging the plants finding water and preserving food and so on Practitioners and bearers transmit the related knowledge through orality observation and experimentation mainly within the family circle The techniques associated with mopamopa harvesting wood processing and varnish decoration are a source of identity for the communities concerned and Pasto Varnish has allowed practitioners to be selfemployed linked by guilds and familyowned trade structures Currently however there are only ten harvesters nine wood masters and thirtysix varnish masters The practice is threatened by various factors notably development and globalization processes creating more profitable alternatives for youngsters the scarcity of mopamopa and woods due to deforestation and climate change the difficulty of accessing the harvesting sites and the conditions of the home workshops in which practitioners work

Chamamé is a form of popular cultural expression that is mainly practised in the Corrientes province Its key components include a style of close embrace dancing where participants hold each other chest to chest and follow the music without set choreography Other elements include musiqueada a celebratory act that includes a party prayer and sapukay a typical phonation or cry accompanied by gestures and movements to convey emotions such as joy sadness pain and bravery The violin and vihuela were the original instruments used in Chamamé music but the guitar harmonica tworow diatonic button accordion bandoneon and double bass were later incorporated The singing is rooted in worship songs Historically lyrics and poetry were in Guarani the regional native language but today oral traditions are transmitted in the yopará dialect a combination of Spanish and Guarani Chamamé music and dancing are an important part of the regional identity and play major social roles as they are common features of community and family gatherings religious celebrations and other festive events Chamamé highlights values such as love for ones land local fauna and flora religious devotion and a way of being a Guarani expression pointing to the harmony between the human natural and spiritual realms

The art of glass beads is closely linked to the wealth of knowledge and mastery of a material glass and element fire The art covers specific knowledge and shared skills reflects the use of specific traditional tools and processes and includes various stages In Italy technical knowledge related to the production takes two forms 1 a lume beads with a blowtorch and 2 da canna beads made by sectioning softening and polishing a hollow cane In France solid beads are made with a torch and the hot glass is rounded through rotation and gravity or hollow beads are made either on a mandrel or by blowing into a hollow cane The more complex production of murrines common in both States consists of assembling multicoloured glass canes around a core The beads are then decorated and used in a wide variety of ways In both States Parties the practice is mainly transmitted informally in workshops where apprentices acquire knowledge through observation experimentation and practice under the supervision of expert craftspeople Transmission can also occur through formal education in technical establishments Gifts made with glass beads are used to mark certain events and social occasions and the practice promotes social cohesion and dexterity in manual and craft work Bearers and practitioners recognize themselves in a collective identity made up of shared memories and spaces

IlFtira culinary art and culture of flattened sourdough bread in Malta is a key part of the cultural heritage of the inhabitants of the Maltese archipelago Ftira has a thick crust and light internal texture characterized by large irregular holes an open crumb It is flatter than other Maltese breads and has a hotter baking temperature The halved loaf is filled with Mediterraneantype ingredients such as olive oil and tomato tuna capers and olives Seasonal variants and inventive twists can also be added With a name derived from Arabic fatir meaning unleavened bread ftira culture reflects the continuity of intercultural exchange in Maltas history Although other kinds of Maltese bread can be made with a mechanized process skilled bakers are still needed to shape ftira by hand In the bakery apprentices learn by watching and doing and various training programmes also exist The skills of choosing compatible ingredients and filling ftira are passed down informally in homes as well as through other channels such as social media and cooking blogs Eating ftira as a filled snack or appetiser fosters a shared identity in Malta bringing people together A wide variety of people including marginalized groups can enter the baking profession as apprentices and Ftira Days in schools help inform students about healthy eating

The musical art of horn players an instrumental technique linked to singing breath control vibrato resonance of place and conviviality brings together the techniques and skills used to play the horn The pitch accuracy and quality of the notes produced are influenced by the musicians breath and the instrumental technique is based on the players body control The timbre of the instrument is clear and piercing especially in high notes and the instruments sound range is based on natural resonance with rich harmonics With twelve notes its range enables compositions with a singing melody accompanied by a second voice and harmonized with a bass score as an integral part of the art of playing horns singing enables players to develop cohesion and convivial solidarity Playing the horn is a performative art open to musical creativity and practised on festive occasions Drawn together by their shared fascination for this instrumental music players come from all backgrounds This great social mix is one of the hallmarks of current horn practice Education in the practice is traditionally oral and imitative Players rarely learn alone however musical practice is often acquired in horn schools Horn music maintains a vast lively musical repertoire constantly enriched since the seventeenth century A great sense of belonging and continuity stems from interpreting this common repertoire encouraging intercultural and international dialogue

Created several centuries ago the Martinique yole reflects the importance of traditional boats in the history of the region A yole is a light fast shallowdraught boat with a tapered shape which can sail with one or two sails Crew members must perch off the hull on long movable poles to balance the boat requiring great agility physical engagement and perfect coordination Yoles are built in different shapes depending on their uses and the geographical areas concerned the Martinique yole used by fishers is ideal for the specific conditions along the islands coasts During the 1950s and 1960s other types of boats made of composites and equipped with motors gradually supplanted the traditional yole Faced with the threat of disappearance of these boats which reflected the history and society of the island a spontaneous movement to safeguard them developed The safeguarding initiatives originated with races organized by the fishers themselves Over the years the safeguarding programme has gradually expanded and is now supported by a broad range of longstanding associations and partnerships This has resulted in a number of good practices The main objectives of the safeguarding programme are to preserve the knowhow of local boat builders transmit knowhow on sailing strengthen the ties between yole practitioners and the local community and create a federation capable of organizing major events

Traditional weaving of Al Sadu refers to the traditional woven textile made by Bedouin women in Arabic Al Sadu means weaving done in a horizontal style The weaving is a form of warpfaced plain weave made on a ground loom The cloth forms a tightly woven durable textile and the weavers make use of natural fibres found in their natural environment The patterns found in Bedouin weaving reflect the desert environment in its simple pure form featuring geometric designs combined to flow in rhythmic repetition and symmetry Weavers also use bright colours such as reds and oranges to liven up the surroundings The beauty of each woven item depends on the quality of the spinning and weaving and the expertise of the weaver the finer the yarn the more pronounced and delicate the structure and design pattern The primary bearers of Al Sadu are older Bedouin women who are master weavers Master weavers play a key role in transmitting the related skills to others most often within the household In addition associations and educational organizations play an important role in passing on the skills and knowledge through classes or workshops Today bearers and practitioners weave Al Sadu either as a hobby or to sell it Al Sadu objects reflect the importance of female roles in Bedouin society and nowadays Al Sadu has become less a functional object and more an object signifying a tradition and a deep culture

Tree beekeeping culture includes knowledge skills practices traditions rituals and beliefs connected to wild bees breeding in tree hives or log hives located in forest areas Tree beekeepers take care of bees in a special way by trying to recreate the primeval living conditions in tree hives without interfering with the natural life cycle of the bees Tree beekeepers have no goal of intensifying honey production which is one of the features that differentiates them from beekeepers Tree beekeeping therefore requires advanced skills and knowledge of traditional methods and tools Tree beekeepers are lifelong learners through direct contact with swarms and the natural environment they constantly acquire new knowledge about the life of the bees and the ecosystem There are also numerous social practices resulting from the practice as well as culinary and traditional medicine traditions As in the past the transmission of the element takes place mainly in tree beekeepers families and through the act of brotherhoods Nowadays however workshops offer another mode of transmission during which participants learn from each other through group activities Tree beekeeping fosters a sense of community belonging and a shared awareness of our responsibility towards the environment

Camel racing a social practice and festive heritage associated with camels is a popular social practice in the communities concerned Preparing the racing camels involves several stages Camels are selected based on type origin and age and are given a special diet They practise on the racetrack in groups and are trained to take part in the races Camel racing is conducted on specially designed fields under the supervision of specialised community committees Usually there are between fifteen and twenty racing camels in each round and the racing distance is determined based on the camels age There are recognized community traditions customs and principles governing the races and community practices and a preparation committee verifies the camels origin The related knowledge and skills are transmitted thanks to the combined efforts of community representatives government institutions specialized centres and the federation of racing and clubs Children and young people gradually acquire knowledge and skills related to the practice through observation simulation and oral expressions Camel racing is a fundamental part of their nomadic lifestyle and a source of inspiration in poetry and singing Its importance and continuity in Bedouin society is connected to the prominent role camels play in the desert environment

Al Aflaj and the related oral traditions knowledge and skills of construction maintenance and equitable water distribution are a source of pride for the associated communities Al Aflaj is a traditional irrigation system which uses an underground tunnel to conduct water over long distances from an underground source to a basin where the community can access it The water flows by gradual gradient from highlands to flatlands while the underground tunnels reduce evaporation Al Aflaj also includes a network of surface channels which distributes water to local farms The Al Aflaj system is based on inherited knowledge and practices related to nature and the universe It also relies on traditional skills in finding water sources based on types of vegetation and other indications as well as drilling skills for maintaining the irrigation system and ensuring the equitable distribution of water Community members contribute to maintaining Al Aflaj and clearing the tunnels of mud this knowledge and experience has been passed down for 3000 years Related knowledge is transmitted through instruction and shared experience as well as by other means such as field trips for school students Throughout the centuries the Al Aflaj have served to provide drinkable water for humans and animals and to irrigate farms in an arid environment demonstrating the communitys creativity in the face of water scarcity and the desert environment

Charfia fishing in the Kerkennah Islands is a traditional passive fishing technique that capitalises on the hydrographic conditions seabed contours and natural resources both at sea and on land The charfia is a fixed fishery system consisting of palm fronds embedded in the seabed to create a triangular barrier blocking the path of the fish pulled in by the ebb tide and channelling them into capture chambers and finally into a net or trap Unlike bottom trawling systems that scrape the seabed the traps keep the fish alive and fasting until raised It is customary to install and operate the charfia only between the autumn equinox and June to ensure the marine wildlife have a biological rest period The charfias are rebuilt each year accompanied by social practices such as sharing a meal or rogatory prayers The practice of charfia fishing requires extensive knowledge of underwater topography and marine currents Many of the inhabitants of Kerkennah learn to fish from an early age and it is also common for a râїs to leave his fishery to his eldest son to perpetuate ownership Vocational training centres also provide indirect training Charfia fishing is the main fishing technique used in the Kerkennah Islands The entire local community participates in the different phases of the process in varying degrees from installing the charfia and the accompanying rituals to raising the traps making this a unifying element for all Kerkennians

The Budima Dance is a warrior dance performed all year round by the Wee people on a number of sombre and spiritual occasions especially during traditional ceremonies funeral processions weddings initiation ceremonies the installation of chiefs thanksgiving harvest celebrations and ritual activities The dance is performed with spears whistles walking sticks knobkerries flutes ceremonial axes shields hornstrumpets drums and rattles The performance includes men women and children the men represent skilled soldiers or fighters with long spears jumping up and down while running in and out of the inner circle of dangers flourishing their spears in mimic of war while others blow the sets of onenote antelope horn flutestrumpets and shout chants Others play big and small drums The women adorned in beaded necklaces and bangles with rattles on their feet sing along and dance energetically The related knowledge and skills are transmitted to young people through observation and their participation in the dance Young people are also taught about the importance of the dance how to perform it and how to make some of the instruments during initiation ceremonies The Budima dance serves as a unifying factor for the communities concerned who take great pride in the dance and can join in with the dancers at any point during the performance

Hawker culture in Singapore community dining and culinary practices in a multicultural urban context is present throughout Singapore Hawkers prepare a variety of food hawker food for people who dine and mingle at hawker centres These centres serve as community dining rooms where people from diverse backgrounds gather and share the experience of dining over breakfast lunch and dinner Activities such as chessplaying busking and artjamming also take place Evolved from street food culture hawker centres have become markers of Singapore as a multicultural citystate comprising Chinese Malay Indian and other cultures Hawkers take inspiration from the confluence of these cultures adapting dishes to local tastes and contexts Today hawker centres across Singapore continue serving the needs of diverse communities in residential recreational and work districts Some of the oldest hawkers started their practice in the 1960s Many specialize in a particular dish refined over many years and transmit their recipes knowledge and skills to younger family members or apprentices Community organizations nongovernmental organizations and educational institutions play a significant role in promoting and sustaining hawker culture through training programmes events and documentation projects As a social space that embraces people from diverse socioeconomic backgrounds hawker centres play a crucial role in enhancing community interactions and strengthening the social fabric

The annual threeday pilgrimage to St Thaddeus Apostle Monastery in northwestern Iran is held each July The pilgrimage venerates two prominent saints St Thaddeus one of the first apostles preaching Christianity and St Santukhd the first female Christian martyr The bearers of the element are the Armenian population in Iran IranianArmenians residing in Armenia and followers of the Armenian Apostolic Church Pilgrims gather in Tabriz before departing for the monastery They cover 700 kilometers from Yerevan to the monastery annually The commemoration ceremony includes special liturgies processions prayers and fasting It culminates in a Holy Mass with Holy Communion Special times are set aside for traditional Armenian folk performances and Armenian dishes are served The pilgrimage is the primary social and cultural event of the year Because attendees reside in tents in close proximity to one another the sense of community is enhanced The monastery has been a pilgrimage site for over nineteen centuries However during the years of Soviet power in Armenia participating in the pilgrimage was prohibited Bearers of the element preserved cultural memories of the pilgrimage and transmitted it to families and communities Only after independence in the 1990s was the pilgrimage from Armenia resumed

AixanGanaObANS TSI Khasigu ancestral musical sound knowledge and skills relates to the specific traditional music of the Nama people one of Namibias tribal minority groups It involves the use of traditional musical instruments the khab musical bow and guitsib traditional guitar usually played by men or women and the vlies harmonica usually played by women accompanied by singing humming and ululating Nama ancestral music has a specific sound texture and rhythm consisting of a leading melody and rhythm by either a musical bow accordion or guitar accompanied by a systematic harmony produced by other instruments As well as the skill of playing the instruments the musicians also require the knowledge to tune maintain and fix the instruments The music is also complemented by dances commonly referred to as Namastap meaning the dancing steps of the Nama people The music provides entertainment during key social occasions but more importantly it is also used to educate and instruct members of the community for instance concerning environmental awareness In the past the music connected whole communities and villages but the art currently faces many threats and in recent years only a few elders have practised the tradition and possessed the related knowledge and skills

The art of crafting and playing MbiraSansi the fingerplucking traditional musical instrument in Malawi and Zimbabwe plays a key role in the communities concerned The basic MbiraSansi instrument consists of a wooden board with metal keys attached on top and the instrument is sometimes mounted on a calabashwooden resonator The metal keys are made from spoon handles bicycle spokes or spring wire and the keys are plucked using the thumbs or a combination of thumbs and fingers The MbiraSansi produces a fluid percussive sound considered to be mystic tranquil and enchanting An important feature of the music is its cyclical nature where each new repetition of a theme varies slightly from the last and incorporates numerous interwoven melodies The instrument can be played on its own or with multiple instruments in a group Traditionally transmission has occurred through apprenticeship within the family circle Today however transmission also takes place through formal coaching and MbiraSansi making and playing is taught in some schools The songs contain important messages with some guarding children against bad behaviour while others condemn negative behaviour in the community for example The music is also used to communicate information about events that happened in the past Wherever and whenever it is played the MbiraSansi instrument acts as a weapon for condemning violence and other societal ills

The workshop organization or Bauhüttenwesen appeared in the Middle Ages on the construction sites of European cathedrals Now as then these workshops are home to various trades working in close collaboration The term Bauhüttenwesen in German refers both to the organization of a workshop network dealing with the construction or restoration of a building and to the workshop itself as a place of work Since the end of the Middle Ages these workshops have formed a supraregional network extending beyond national borders The workshops safeguard the traditional customs and rituals of their professions as well as a wealth of knowledge transmitted across the generations both orally and in writing Faced with the progressive shortage of technical skills and in an age of increasing mechanization and cost optimization the workshops created or reestablished in the nineteenth and twentieth centuries have become institutions that preserve transmit and develop traditional techniques and knowhow Their commitment to safeguarding and promoting living heritage through targeted awareness raising information and communication measures and close cooperation with shareholders in the field of politics the church monument conservation business and research can be considered as an example to be adapted and implemented in other contexts worldwide Through their organization and training system for onsite practice the workshops could be considered as a model for all types of buildings that need to be built and maintained

Handmade production of Christmas tree decorations from blown glass beads refers to handmade Christmas tree decorations that are produced by blowing a heated glass tube inserted in a brass mould shaped into a string of beads called klaustschata and silvered coloured and hand decorated The string of beads is then cut into shorter or individual beads which are threaded onto wires thus forming ornaments of many forms Considered as a key cultural element of the Giant and Jizera Mountain regions in North Bohemia where blown glass beads have been produced since the late eighteenth century the traditional craft is specialized and technically demanding The element has been passed down through families for generations Small production workshops were also bearers of the element but only one survived the era when the socialist economy was undergoing transformation The Kulhavý family workshop managed to rescue the knowledge and continues to work with domestic bead makers to safeguard the tradition Cultural educational institutions particularly museums also help transmit the associated knowledge by organizing workshops The creation of Christmas ornaments such as these appear in folk tales about Krakonoš the legendary ruler of the mountains

At the crossroads of science art and technology the skills related to the craftsmanship of mechanical watchmaking and art mechanics are used to create watchmaking objects designed to measure and indicate time watches pendulum clocks clocks and chronometers art automata and mechanical androids sculptures and animated paintings music boxes and songbirds These technical and artistic objects feature a mechanical device that generates movements or emits sounds Though generally hidden the mechanisms can also be visible which contributes to the aesthetics and poetic dimension of the objects The Jura Arc is an area in which craftsmanship remains particularly dynamic thanks to the presence of highly qualified craftspeople and companies that promote the skills and a full range of training options Historically entire families were involved in the practice developing apprenticeship practices and professional and family alliances Skills were initially learned in training schools Nowadays practitioners also share their knowhow via online blogs forums and tutorials and collaborative open source projects As well as serving an economic function the skills have also shaped the architecture urban landscape and everyday social reality of the regions concerned The practice conveys many values such as good workmanship punctuality perseverance creativity dexterity and patience and the infinite quest for precision and the intangible aspect of time measurement give the practice a strong philosophical dimension

Nar Bayrami is an annual festival in OctoberNovember in Azerbaijans Goychay region that celebrates the pomegranate and its traditional uses and symbolic meaning Pomegranate culture is a set of practices knowledge traditions and skills related to the cultivation of the fruit which is used not only in a range of culinary contexts but is also referred to in crafts decorative arts myths storytelling and other creative outlets The element is linked to local agriculture and to the farmers and individuals in rural communities that grow and collect the fruit These participants have an understanding of environmental characteristics and harvesting techniques The fruit enjoys great visibility in society as both the pomegranate and Nar Bayrami perform a range of cultural and social functions everything from its use in traditional meals to being cited in poetry Symbolically the pomegranate is associated with longterm productivity abundance and is considered as a carrier of energy Azerbaijani Local legends viewed it as a symbol of love and passion while religious people saw it as symbolizing eternity The annual celebration displays pride for centuriesold traditionsthis festivity and culture related to the fruit and encourages active exchange and communication among communities and visitors to the festivity a time to highlight local nature and culture

The most important social event in the Kupres municipality is the annual mowing competition that takes place in July at a specific meadow called Strljanica which is also the local name for the custom The contest involves the manual mowing of grass using a scythe and is judged by the time effort and amount mown as cutting grass at that altitude requires strength and a special technique The top three mowers are recognized with the chief mower treated as a leader who ensures the successful mowing of all the fields to gather hay for the cattle agriculture and cattle breeding are essential parts of the areas economy Men starting from the age of eighteen are traditionally the competitors with the element being transmitted within families from father to son Women rake the grass and prepare food for guests Other elements linked to the competition include national costumes the forging of scythes and the preparation of cattle for competition All ethnic and religious groups and individuals in Kupres are free to participate with the custom being considered as a foundation of the areas cultural identity regardless of peoples background The bearers themselves and the Kupres Mowers Association are most responsible for safeguarding the element

Zlakusa pottery making handwheel pottery making in the village of Zlakusa relates to the knowledge and skills involved in making unglazed vessels for thermic food processing Used in households and restaurants across Serbia Zlakusa pottery is made of clay and calcite and the wheel is run exclusively by hand The process takes seven to ten days and includes the preparation of clay paste shaping decoration finishing drying and baking The finished vessels are decorated with geometrical ornaments made with wooden or metal tools and handles are added to some vessels Nowadays traditional shapes pots breadmaking and meatfrying pans and small pans for the kitchen oven have been adjusted to the modern way of preparing and serving food The related knowledge and skills are mainly transmitted through direct participation and work alongside experienced craftspeople within the community Demonstrations at the Zlakusa Festival and classes held at the Arts School in Užice provide another key mode of transmission Zlakusa pottery is often presented at fairs and festivals throughout Serbia and the vessels are widely used during important family and community events It is claimed that some dishes prepared in Zlakusa earthenware on an open fire have a unique taste Moreover the pottery is closely associated with the village of Zlakusa and its environs due to its close link with the natural environment which provides the raw material

Yeondeunghoe lantern lighting festival takes place throughout the Republic of Korea As the eighth day of the fourth lunar month Buddhas birthday approaches the entire country lights up with colourful lanterns Originally a religious ritual to celebrate Shakyamunis birth Yeondeunghoe has now become a national spring festival open to all Streets are hung with colourful lotus lanterns and crowds holding handmade lanterns gather for a celebratory parade The annual festival starts with bathing an image of the baby Buddha as a ritual celebrating Shakyamunis birth This is followed by a public procession of lanternbearing participants after which participants gather for recreational events culminating in collective games Members of the public can participate by carrying lanterns they have made to express good wishes for themselves their families and neighbourhoods and the entire country Lighting the lanterns also symbolises enlightening the minds of individuals communities and all of society through Buddhas wisdom The related knowledge and skills are mainly transmitted through Buddhist temples and communities and the Yeondeunghoe Safeguarding Association plays a notable role through the organisation of educational programmes The festival is a time of joy during which social boundaries are temporarily erased In times of social difficulties it plays a particularly important role in integrating society and helping people overcome the troubles of the day

Los Caballos del Vino Wine Horses takes place each year from 13 May in Caravaca de la Cruz and forms part of the fiestas held in honour of the Santísima y Vera Cruz in Caravaca The equestrian ritual consists of a series of events in which the horse is the protagonist The process of enjaezamiento involves dressing the horses in beautiful cloaks richly embroidered in silk and gold thread Various parades are then held showcasing the horses and the cloaks through the streets accompanied by four horse handlers on foot followed by the entire town Finally the most awaited moment is a race against the clock up the hill to the castle with the horses running with four handlers up to the fortress where prizes are awarded for the race and for the embroidered cloaks Knowledge and techniques relating to caring for breeding harnessing and handling the horses are transmitted within families and groups and the embroidery techniques are learned in workshops and embroidery families The relationship between humans and horses based on respect and collaboration is also passed down through the generations The two activities of winegrowing and horsebreeding form an inherent part of the economy history and culture of the area and the festival showcases values such as comradeship and solidarity with everyone feeling represented as part of a socially united group

Taijiquan is a traditional physical practice characterized by relaxed circular movements that works in concert with breath regulation and the cultivation of a righteous and neutral mind Originating during the midseventeenth century in Wenxian County in the Henan Province of central China the element is now practised throughout the country by people of all ages and by different ethnic groups Taijiquans basic movements center upon wubu five steps and bafa eight techniques with a series of routines exercises and tuishou handpushing skills performed with a counterpart Influenced by Daoist and Confucian thought and theories of traditional Chinese medicine the element has developed into several schools or styles named after a clan or a masters personal name The element is passed down through clanbased transmission or the masterapprentice model The latter relationship is established through the traditional ceremony of baishi Taijiquan has also been incorporated into the formal education system The element builds upon the yin and yang cycle and the cultural understanding of the unity of heaven and humanity It has been disseminated through legends proverbs and rituals among other vehicles of expression Safeguarding the element would increase its visibility and dialogue about the diverse ways Taijiquan is practised by different communities

Armenian letter art and its cultural expressions constitutes the centuriesold art of Armenian letters Armenian scripts the rich culture of decorating letters and its various uses The element is based on the Armenian alphabet created in 405 AD by Mesrop Mashtots following the oneletterforonesound principle The element is also distinguished by its wide range of ornamental scripts generally classified by their shapes knots birds animals people and mythical or imaginary creatures Since their invention Armenian letters have not only served their primary function to create written heritage but also as numbers cryptographs riddles etc Today the letters are also used in handicrafts Armenian letter art has penetrated almost all layers of society particularly folk art The element is practised across the Armenian territory and is integral to the cultural identity of Armenian people Its bearers and practitioners include artists carpet weavers embroiderers sculptors linguists calligraphists jewellers and others Educational institutions at all levels are involved in transmitting the related knowledge and skills to future generations and several youth centres accord great importance to teaching Armenian letter art Since 2008 continuous support has been shown for the annual Granshan international design competition and the Armenian Apostolic Church is central to acquainting children and youngsters with the element

The music and dance of Dominican Bachata is a danceable musical expression deriving from a fusion of rhythmic bolero with other AfroAntillean genres such as Son the Chachacha Merengue etc The Dominican people consider the music and dance of Bachata as a vernacular cultural manifestation omnipresent in community celebrations and social gatherings In general the lyrics of Bachata express deep visceral feelings of love passion and nostalgia Etymologically the term bachata presumed to be of African origin originally referred to a lively gathering or party rather than a musical genre specifically For its performance Bachata traditionally requires a small group of musicians who use one or two guitars as lead instruments electric guitars are widely used nowadays and a percussion composed of bongos maracas and a guiro accompanied by a bass The music has four tempos per beat and usually one of the musicians is the lead singer The dance of Bachata is equally passionate consisting of a couples dance characterized by a sensual hip movement and simple eightstep structure Since the element is an integral part of all traditional celebrations in the Dominican Republic the dance is learnt spontaneously from a young age but there are also over a hundred academies studios and schools dedicated to its transmission

Akkalpak craftsmanship is a traditional Kyrgyz handicraft The Akkalpak is a traditional male hat made with white felt which bears deep sacral meanings Akkalpak craftsmanship is a cumulative everevolving body of knowledge and skills passed down by craftswomen in the communities concerned comprising felting cutting and sewing and pattern embroidery Related knowledge and skills are transmitted via oral coaching handson training and joint making in workshops More than eighty kinds of Akkalpak can be distinguished decorated with various patterns bearing a sacred meaning and history Environmentally friendly and comfortable the Akkalpak resembles a snow peak with four sides representing the four elements air water fire and earth The four edging lines symbolize life with the tassels on the top symbolizing ancestors posterity and memory and the pattern symbolizing the family tree Akkalpak unites different Kyrgyz tribes and communities and makes Kyrgyz people recognizable to other ethnic groups It also fosters inclusivity when representatives of other ethnic groups wear it on holidays or days of mourning to express unity and sympathy There are workshops all over the country where related knowledge and skills are passed down and in 2013 a project entitled From generation to generation was conducted on traditional Akkalpakmaking techniques nationwide resulting in an exhibition and published book

The Ie Samoa is a special finely handwoven mat fastened at the hem with two rows of green and red feathers and a loose fringe on one end Traditionally woven with fine strippings of the pandanus plant the final product is silklike Its shiny coppery colour adds to its value as it is a testament to its age and the natural bleaching process it undergoes The production process involves a high level of intricacy as each woven strand is as little as one millimeter wide Producing a single Ie Samoa can therefore take up to several months and even years Nevertheless the Ie Samoa is more than a cultural product involving exceptional skill its true value lies in its use as an object of exchange in traditional ceremonies and rituals that reaffirm kinship ties and strengthen community wellbeing The Ie Samoa is displayed and exchanged at festive celebrations or on important gatherings such as weddings and funerals and its exchange contributes profoundly to the maintenance of the social structure Today an increasing number of young female weavers are involved and even male weavers Women and master weavers have established fine mat committees within their villages allowing them to exchange ideas about best practice for weaving and to boost opportunities for strengthening the transmission of the art form

The Seperu folkdance and associated practices involve singing dancing and sacred rituals that are highly significant in the lives of Veekuhane community members Seperu is a celebratory practice performed during ceremonies that mark important milestones in the community members lives In the dance the women form a horseshoe while male dancers face the women at the end of this horseshoe The lead dancer uses a flywhisk to direct and choose the female dancer while other members of the group imitate the sounds of a male dove The selected female dancer then shows her dancing skills by reflecting the image of a peacock tail with her multilayered dress mushishi Although the Seperu folkdance is a key symbol of identity and pride for the Veehukane its knowledge bearers and active practitioners have diminished in number affecting its visibility and transmission to the younger generations Currently there are only 194 active practitioners with twelve master practitioners all of whom are over seventy years old Traditional methods of transmission have been undermined by the distortion of the significance of the mushishi garment modern wedding ceremonies current curricula in schools and modernization which has led community members to move to other districts of the country

Silat is a combative art of selfdefence and survival rooted in the Malay Archipelago Traced back to the early days of the Langkasuka Kingdom Silat has evolved into a fine practice of physical and spiritual training also encompassing traditional Malay attire Silat musical instruments and customs There are many styles of Silat inspired by the movements of human anatomy nature and animals For example Silat Harimau involves an aesthetic rhythmic motion imitating the art of selfdefence and attack of the tiger In Malaysia alone there are more than 150 known Silat styles whose names derive from natural elements such as animals and plants Originally Malay Silat was practised by warriors as noble enforcers of justice but nowadays practitioners consist of masters gurus teachers and students who are responsible for maintaining the practice Training sessions usually take place in the evening or at night in an open space such as a courtyard led by the Master and Jurukaka A large number of practitioners have been trained and nurtured and an increasing number of training centres have been established in various regions With this accelerated dissemination the practice has increasingly transcended its status as a martial art to become a performing art consequently it is now a popular sport for health and leisure

As a living art that has existed for more than 2000 years the Byzantine chant is a significant cultural tradition and comprehensive music system forming part of the common musical traditions that developed in the Byzantine Empire Highlighting and musically enhancing the liturgical texts of the Greek Orthodox Church it is inextricably linked with spiritual life and religious worship This vocal art is mainly focused on rendering the ecclesiastical text arguably the chant exists because of the word logos since every aspect of the tradition serves to spread the sacred message Passed on aurally across the generations its main characteristics have remained over the centuries it is exclusively vocal music it is essentially monophonic the chants are codified into an eightmode or eighttone system and the chant employs different styles of rhythm to accentuate the desired syllables of specific words Though the Psaltic Art has always been linked to the male voice women chanters are common in nunneries and participate in parishes to some extent In addition to its transmission in church the Byzantine chant is flourishing due to the dedication of experts and nonexperts alike including musicians choir members composers musicologists and scholars who contribute to its study performance and dissemination

The Cultural Complex of Bumbameuboi from Maranhão is a ritualistic practice involving forms of musical choreographic performing and ludic expression in which the practitioners relationship with the sacred is mediated by the figure of the ox The practice features certain key distinguishing elements the cycle of life the mysticalreligious universe and the ox itself The practice is heavily charged with symbolism by reproducing the cycle of birth life and death it offers a metaphor for human existence itself There are similar forms of expression in other Brazilian states but in Maranhão Bumbameuboi is distinguished by the various styles and groups it includes as well as by the intrinsic relationship between faith festivities and art Each year the Bumba groups from Maranhão reinvent this celebration creating the songs comedies the embroideries on the ox leather and the performers costumes Divided into five main accents with particular features the groups albeit diverse share a yearly calendar of performances and festivities The festival cycle which reaches its peak at the end of June may last for four to eight months involving the following stages rehearsals the preseason baptisms public performances or brincadas and rituals around the oxs death The practice is a period of renovation during which energies are reinvigorated and is transmitted through childrens groups dance workshops and spontaneously within the group

Traditional turkmen carpet making art in Turkmenistan relates to the production of traditional Turkmen carpets and carpet products handwoven woolen textile products decorated with ornamental art The carpets feature a dense texture ornamented with characteristic coloured patterns pertaining to one of the five main Turkmen tribes They are characterized by patterns forming clear linear geometric arrangements The context in which the carpet weaver lives including local flora fauna and the environment is reflected in the combination of threads pictures and colours creating the carpet designs Turkmen carpets are created on horizontal or vertical looms mainly using different coloured wool threads The carpets serve both as floor coverings and wall decorations and special carpets are also woven for the birth of a child wedding ceremonies and prayer and mourning rituals The carpetmaking art is broadly integrated into the social and cultural life of Turkmen people and is considered as a sign of cultural identity and unity Related skills and knowledge are transmitted within the family and the viability of the tradition has been continuously ensured by community members The annual celebration of Carpet Day plays a key role in the transmission of the element by gathering various communities strengthening social ties and cooperation

The Rituals and practices associated with Kit Mikayi shrine concern the Luos of western Kenya Legend has it that Kit Mikayi Shrine is associated with the good fortunes of the Seme people and other Luo ethnic communities who live around the shrine enclave People access the shrine for many different reasons including praying taking oaths undertaking rituals and associated practices and enjoying its natural beauty During times of catastrophe like hunger and famine Luo elders would conduct rituals at the shrine and rain and bounty harvests would follow Elderly men and women of excellent social standing would guide the rituals while men would partake in activities such as slaughtering the animals women did the singing dancing and cooking of the foods accompanying the rituals For generations the community has relied on the shrine as a sacred site where they could visit and commune with the Deity However the element is now threatened by various factors including the decreased frequency of its enactment ageing bearers and practitioners and encroachment upon the surrounding cultural spaces The fact that the last major rituals and practices at the shrine date back to 1987 illustrates the risk of their disappearance with a lack of knowledge triggering a movement towards the devaluation and defilement of the shrine as a sacred space for the community

Sega tambour Chagos is one of the types of Sega music of Mauritius with origins in the Chagos Archipelago Like other Sega music it is born from slavery and sung in Chagossian Creole particular to the islands Sega tambour Chagos is a gentle vibrant and rhythmic performance of music song and dance based on the tambour a large circular instrument that is heated and then played to produce throbbing beats which provides the basic rhythm The lyrics consist of everyday experiences often composed spontaneously including narrations of sadness happiness and rebellion Sega tambour Chagos is also accompanied by traditional food and drink Nowadays new lyrics have been created associated with the nostalgic past and motherland rooted in an experience of dislocation to ensure young people do not lose their roots and pride However despite efforts to safeguard the element there are numerous threats to its viability For example while elder generations continue to perform the element in its traditional form young people are moving towards other forms of music One major threat is the passing away of elders familiar with the landscape associated with the practice Equally with their displacement to a new land people have faced challenges such as poverty and a lack of community cohesiveness leading to some loss of memory and interest in the practice

Ethiopian epiphany is a colourful festival celebrated all over Ethiopia to commemorate the baptism of Jesus Christ by John the Baptist in the River Jordan The commemoration starts on the eve of the main festival on 18 January The eve is known as Ketera which means blocking the flow of water for the blessing of the celebrants On the eve of Ketera people escort their parish church tabot replicas of the Ark of the Covenant to TimketeBahir a pool river or artificial reservoir transported by a priest of the parish and accompanied by a great ceremony The people spend the night attending nightlong prayers and hymn services including the Eucharistic Liturgy Hundreds of thousands participate in the actual festival on the following day 19 January The celebration starts early in the morning with presunrise rituals These are followed by the sprinkling of the blessed water on the congregation as well as other ceremonies At around 10 am each tabot begins its procession back to its respective church involving an even more colourful ceremony with various traditional and religious songs The viability of the element is ensured through its continued practice with Orthodox clergies playing a pivotal role they sing the praises dedicated to the rituals and hymns carry the Ark and preach relevant texts

The traditional skills of crafting and playing the Dotār are one of the most prominent social and cultural components of the folkloric music among the ethnic groups and communities of the Dotār regions Bearers and practitioners are mostly farmers including male crafters and players and female players The Dotār is a folkloric plucked musical instrument with a pearshaped bow crafted with dried wood or mulberry tree a neck made of apricot or walnut wood and two strings Some believe one string is male and functions as the accord while the other is female playing the main melody Performers play the Dotār on important social and cultural occasions such as weddings parties celebrations and ritual ceremonies In recent decades it has also been played in local regional national and international festivals While playing the players recount epic historical lyric moral and gnostic narrations that are central to their ethnic history pride and identity Traditional knowledge relating to crafting and playing the Dotār is passed on informally through the masterstudent method and the element is also present in local oral and written literature which reflects the history and background of the bearers The element fosters peaceful coexistence mutual respect and understanding both among different communities and with neighbouring countries

Buklog is an elaborate thanksgiving ritual system of the Subanen an indigenous people in the southern Philippines The head of a host family usually a village chief called timuay plans the ritual system to express gratitude to the spirits The rituals ensure harmony among family clan and community members as well as among the human natural and spiritual worlds They include asking the spirits for permission to gather materials from the forest presenting coin offerings inviting the spirits of the departed to feast invoking spirits of water and land and music and dance Afterwards participants dance on an elevated wooden structure called the Buklog a sacred and social space which resonates with a sound believed to please the spirits This is followed by a community dance marking the renewal of spiritual and social relationships within the community Though the ritual system remains the communitys strongest unifying force there are several social political and economic threats that compromise its viability notably the influx of other cultures into the Subanens traditional homeland changes in family dynamics and economic constraints Therefore although the Subanen have developed highly adaptive mechanisms to ensure their culture survives the Buklog is now regarded as highly vulnerable facing several severe interrelated threats and constraints

The activities associated with the biocultural programme for the safeguarding of the tradition of the Blessed Palm in Venezuela involve gathering several palm species in a specific group of mountains After receiving a blessing during the religious ceremony the palmeros go up to the mountain where they spend several nights undertaking different activities they tell stories stop at specific points as if going through the Stations of the Cross take care of the trails and plant and prune palm trees These palm leaves blessed as part of Holy Week are then distributed within several communities The tradition was close to disappearing three decades ago as the palmeros did not have reforestation plans in place and national park authorities saw them as a threat to the environment Aware of the need to change how the palm was collected the palmeros started pruning the plant rather than cutting it completely Several innovative measures were designed as part of the biocultural programme including educational projects for young people and cultural activities for the wider community The biocultural programme has encouraged hundreds of children and young people to get involved and its educational component could be seen as a model for other communities engaged in gathering the Blessed Palm during Holy Week or indeed any living heritage practices where culture and nature are closely connected

Morna musical practice of Cabo Verde is a traditional Cape Verdean musical and choreographic practice with instrumental accompaniment that incorporates voice music poetry and dance Morna can be either sung or played only with instruments mainly chordophones including the guitar violin tenstring guitar replaced with a cavaquinho in the twentieth century and the ukulele Several other instruments have now been introduced such as the piano percussion and bass but the guitar remains the preferred instrument The lyric poetry can be improvised with topics including love departure separation reunion longing the ocean and the motherland While in the past the lyrics were also composed in Portuguese nowadays it is mainly composed in Cape Verdean Creole Bearers and practitioners of the element include instrument players singers poets and composers who perform disseminate and transmit the practice to the younger generations Currently some bearers are also opening teaching centres and as a genre Morna is also practised by formal groups Morna is a fundamental aspect of Cape Verdean social and cultural life as it performed at key life events such as weddings christenings and family reunions Transmission has been carried out by the community through workshops radio programmes performances festivals and the musical contest entitled Todo Mundo Canta which takes place on every island

Alpinism is the art of climbing up summits and walls in high mountains in all seasons in rocky or icy terrain It involves physical technical and intellectual abilities using appropriate techniques equipment and highly specific tools such as axes and crampons Alpinism is a traditional physical practice characterized by a shared culture made up of knowledge of the highmountain environment the history of the practice and associated values and specific skills Knowledge about the natural environment changing weather conditions and natural hazards is also essential Alpinism is also based on aesthetic aspects alpinists strive for elegant climbing motions contemplation of the landscape and harmony with the natural environment The practice mobilizes ethical principles based on each individuals commitment such as leaving no lasting traces behind and assuming the duty to provide assistance among practitioners Another essential part of the alpinist mindset is the sense of team spirit as represented by the rope connecting the alpinists Most community members belong to alpine clubs which spread alpine practices worldwide The clubs organize group outings disseminate practical information and contribute to various publications acting as a driving force for alpinist culture Since the 20th century alpine clubs in all three countries have cultivated relationships through frequent bilateral or trilateral meetings at various levels

Provision of services and hospitality during the Arbain visitation is a social practice performed across the central and southern regions of Iraq from where processions of visitors and pilgrims converge towards the Holy City of Karbala The tradition a social practice with deep roots in the Iraqi and Arab tradition of hospitality is an immense display of charity through volunteering and social mobilization and considered to be a defining element of Iraqs cultural identity Every year around the 20th of the Islamic month of Safar the Iraqi province of Karbala receives millions of visitors in one of the worlds most populous religious pilgrimages Hailing from different regions in Iraq and abroad visitors walk to the Holy Shrine of Imam Hussein A vast number of people contribute their time and resources to providing the pilgrims with free services along the route Starting at least two weeks before the date of Arbain associations set up temporary facilities or reopen more permanent ones along the pilgrimage routes including prayer halls guest houses and stands offering various services Many people also open their houses for free overnight accommodation Bearers and practitioners include cooks families offering hospitality the administration of the two Holy Shrines in Karbala volunteer guides volunteer medical teams and benefactors contributing generous donations

Drotárstvo wire craft and art refers to the technique of manufacturing using wire In the 18th century wire craftsmen discovered the interesting properties of wire and developed a simple technique based on manual bending binding and interlacing metal fibers without welding or soldering a technique still used to this day Initially wire art and craft was a complementary task performed by labourers to repair ceramics and cookware and produce and sell simple wire tools In the 19th century the practice became an autonomous craft and since the 20th century wire craftspeople have used wire to produce tools for daily use and art objects As in the past they react flexibly to the demands of the local market and enrich the traditional collection with new goods or art objects The current range of materials also includes new types of wire used in unusual combinations with other previously unknown materials Currently the bearers and practitioners work mainly at the artistic level selling their art products at various fairs festivals etc Some practitioners come from families with a multigenerational tradition of transmitting these related skills and there are also voluntary craft associations and clubs The current practice develops old traditions and techniques to create new beautiful forms demonstrating its continued viability and respect for the old wire craftsmen

The safeguarding strategy of traditional crafts for peace building addresses the weakening of traditional crafts through a system of intergenerational transmission of knowledge between master and apprentice based on the nonformal learning by doing method The safeguarding strategy aims to train different sectors of the population create labour connections and foster cultural entrepreneurship It establishes a link between bearers of traditional crafts and skills who are recognized by their communities for their empirical knowledge of the peculiarities of their region and apprentices aged between fourteen and thirtyfive who become builders of peace by learning a skill or craft seeking to transform their situation of vulnerability The safeguarding strategy is therefore geared at allowing for the qualification of traditional crafts thereby improving employment opportunities implementing a Traditional Crafts Policy to guide and ensure continuity in the transmission and practice of these crafts and enhancing the Workshop Schools Programme Priority is accorded to young people who are exposed to the effects of armed conflict a lack of opportunities school desertion and unemployment Training is also combined with work guaranteeing apprentices future employability The strategy thus aims to foster the safeguarding of traditional crafts as a tool for social inclusion employment and cultural entrepreneurship In turn the community can recognize the cultural and societal value of safeguarding different traditional skills and crafts

In the practice of traditional music and dance in Setesdal playing dancing and singing stevstevjing traditional dance and music belong together interwoven in the social context The melodies are named after the gangar dance and are mostly dance tunes the melodies of the stev songs can be played on instruments and the lyrics often describe the dancing or playing of the practitioners The stev are often performed in the intervals between the dancing and playing and are sung solo or by two or more singers in a dialogue with each other called stevjing The lyrics are fourline verses telling a story The dance is practised either by solo couples or by multiple couples in a clockwise circle with a change of dance partners and can be performed in either a modest way or wildly and vigorously The music is performed on the Hardanger fiddle Norways national instrument and the jaw harp Setesdal can be traced back to the 18th century and has enjoyed continuous transmission It is constantly evolving with new song texts being made for traditional stev tunes and new tunes composed The traditional form of transmission through social gatherings or from adult experts to younger generations remains the main method of learning the element

The tradition of Kosiv painted ceramics which include dishes ceremonial items toys and tiles arose in the 18th century reaching its golden age in the mid19th century The products are made using local grey clay watered with a white clay of creamy texture when dried they are painted using a metal stick scratching technique to form a graphical contour drawing They are then fired and painted with metal oxides to produce the traditional green and yellow colors an indispensable feature of the ceramics Sometimes masters add a little cobalt but not so much as to lose the traditional colouring During the firing the green dye spreads to create the watercolour effect usually called tears The main feature of Kosiv ceramics is the figurative design of the ornament The plot motif expresses the history life folklore beliefs and customs of the Hutsuls and surrounding flora and fauna The ceramics are used in everyday life and have a practical and artistic value Masters work in family workshops and small craft workshops and the practice constitutes an identity marker and sign of affiliation with the community The Department of Art Ceramics of Kosiv College ensures the continuity of generations of masters and bearers and has a special responsibility for sustaining the tradition preserving the traditional technological cycle potters wheels clay tools and pottery kilns

The spring rite of Juraǔski Karahod is performed by residents of the village of Pahost on St Georges Day For Belarusians St George safeguards livestock and agriculture In Pahost the holiday is observed through a specific ceremonial rite that encompasses various ceremonial activities songs games omens and beliefs Traditionally the ritual involves two cycles The first cycle takes place in the courtyard where the animals are led out of the barn for the first time after winter with a series of ritual acts to protect the livestock The second cycle is associated with the agricultural tradition it begins on the eve of the holiday with baking the ceremonial bread Karahod and black sacrificial bread The next morning the villagers go to the field carrying a ceremonial towel the bread and an eightpointed star Women singing ceremonial songs and men carrying the Karhod form a circle and sing and a piece of the black loaf is buried in the ground while pronouncing the plea to God for a good harvest Participants then hand out pieces of ritual bread throughout the village and the festivities continue until evening Despite the communitys concerted efforts to safeguard the element it is currently threatened by numerous factors such as Pahosts gradually ageing population a shortage of jobs in the village globalization folklorization of the element and the general socioeconomic situation in the region

The Holy Week processions take place in the historic town of Mendrisio on the evenings of Maundy Thursday and Good Friday attracting over 10000 spectators On these occasions the citys lights are turned off and the streets are lit by the glow of transparencies translucent paintings mounted on wooden frames and illuminated from within made using a specific painting technique developed since the late 18th century Nowadays the 260 transparencies depict biblical scenes and symbols The Thursday procession is devoted to staging the Passion and the Stations of the Cross and involves around 270 extras The sounds of trumpets and drums set the pace and fill the streets with a contemplative atmosphere The Good Friday procession is more austere hundreds of children and adults march along carrying over 500 ceremonial objects including 320 lanterns representing symbols of the Passion of Christ The choreography and scenography of the processions foster a contemplative atmosphere and the transparencies promote local craftsmanship Hundreds of men and women volunteer to organize the practice and a significant portion of the population supports it by attending the processions The Fondazione Processioni Storiche di Mendrisio is committed to preparing and organizing the Processions with wide community participation and ensures the transmission of related knowledge by its members and beyond

Irish harping is at the heart of the identity of the people of the island of Ireland The harp is Irelands national symbol and has been played for more than 1000 years its belllike sounds and music captivate all those who hear it and are celebrated in Irish mythology folklore and literature Nowadays instead of a harp hewn from a single piece of willow strung with wire strings and played with the nails most contemporary harps are made with various types of hardwood strung with gut or nylon and played with the finger tips While some men and boys play the harp women girls and children are the primary practitioners Related skills are transmitted both aurally andor by notation in the art music style and contemporary exponents of the early wirestrung harp are bearers of a precious legacy of music Contemporary gutstrung harpers have safeguarded the old repertoire and ensured its continuity while responding to evolving harp styles There has been a major resurgence of interest in harp playing over the past sixty years thanks to a growing appreciation of the harps role in Irish identity language and culture and bearers and practitioners now number around 1500 a number that is growing steadily Harp playing has also helped people to embrace diversity and bridge divides

The processes of making the artisanal talavera of Puebla and Tlaxcala Mexico and ceramics of Talavera de la Reina and El Puente del Arzobispo Spain are identified with two communities in both Mexico and Spain The ceramics have domestic decorative and architectural uses Despite changes over time and the developments ceramics have undergone in both countries including due to the use of electric potters wheels nowadays the artisanal making processes including making techniques enameling and decoration retain the same pattern as in the sixteenth century Related knowledge and skills include preparing the clay making the earthenware using a potters wheel or cast decorating preparing enamels and pigments and managing the kiln which requires great expertise Some ceramists carry out the whole process while others specialize in specific tasks Related knowledge including raw material extraction material processing decoration and firing techniques is mostly borne by master earthenware artisans and ceramists who have developed their skills over time and transmit them to the next generations through oral transmission in their artisanal workshops or in the family setting Every workshop has its own identity as reflected in the detail of the shapes decorations colours and enamels of the pieces and the production of ceramics remains a key identity symbol in both countries

Winter festivities Carnival of Podence is a social practice which initially functioned as a rite of passage for men Now extended to women and children it has been readjusted to its contemporary context The festivity is associated with the celebration of the end of winter and the arrival of spring and takes place over three days in the streets of the village and in the houses of neighbours who visit each other During the performance the Caretos modelled on the traditional masked character dance around women with their cowbells rhythmically moving their hips Possibly connected symbolically to old fertility rites this action is performed by those behind the mask as a way of interacting with others anonymously The Caretos wear tinplate or leather masks costumes covered with colourful wool fringes and small bells On the Monday night there is a theatrical play when a group of men announce a fictional list of engaged couples satirizing them and eliciting collective laughter On Shrove Tuesday some people mask themselves as matrafonas a masked character from rural carnivals On Tuesday afternoon the ritual of the burning of a Shrovetide figure takes place and the group of Caretos then goes around the homes of friends and relatives Participation in the Carnival begins during childhood and the activities of the Group of Caretos Association have considerably boosted opportunities for transmission

The festival of the Santísima Trinidad del Señor Jesús del Gran Poder takes place on the Day of the Holy Trinity in the city of La Paz The celebration transforms and stimulates the social life of La Paz every year emanating from a particular way of understanding and living Andean Catholicism The Parade begins with a procession through the western part of the city This procession is central to the event involving 40000 devotees who dance and sing in an offering to the patron saint The dance has a sacred significance for the sixtynine fraternities involved which are greeted in the streets in a euphoric atmosphere where the music of 7000 musicians resonates The heavy dances begin with the Morenos the iconic dance of the festival mixed with light dances meanwhile the Sikuris and Qhantus native dances hark back to the origins of the Chijini festival The next day the procession members solemnly carry the patron saint on their shoulders in the Gran Poder district devotees pay tribute to the image with incense flowers and confetti The fraternities prepare their musical repertoires throughout the year embroiderers and jewellers transmit their knowledge within the families of the Gran Poder and the devotional aspect of the practice is transmitted through devotional ceremonies evenings and processions

In addition to their sporting element Traditions of Pencak Silat also encompass mentalspiritual selfdefence and artistic aspects The moves and styles of Pencak Silat are strongly influenced by various elements of art involving a unity of body and movement fitting the accompanying music The term pencak is better known in Java while the term silat is better known in West Sumatra describing a group of martial arts with many similarities In addition to local terms each region has its own moves styles accompaniments music and supporting equipment which includes costumes musical instruments and traditional weapons Pencak Silat practitioners are taught to maintain their relationship with God human beings and nature and are trained in various techniques to deal with attacks or other dangerous situations based on principles to protect themselves as well as others avoid harming the offender and build comradeship The practice strengthens comradeship maintains social order and provides entertainment for ritual ceremonies Related knowledge and skills are commonly taught in nonformal schools and include oral traditions and expressions such as greetings philosophical phrases rhymed poems advice as well as songs and techniques to play the instruments

Then an essential ritual practice in the spiritual life of the Tày Nùng and Thái ethnic groups in Viet Nam reflects concepts about human beings the natural world and the universe Then ceremonies describe a journey in which the Then Master male or female controls ghost soldiers travelling from the earth realm to the heaven realm to offer items of worship and present their prayers for peace for treating illnesses good crops a happy new year etc The Then Master starts the journey by singing and plucking a tính lute Depending on the worshipping purposes Then masters arrange worship trips to pray to different native Gods Then masters use various items such as a demonexpelling sword a yin and yang rod a bell etc to perform ceremonies in the believers house outdoors or at the Then alter of the Masters house The Master wears ceremonial dress sings in the language of their ethnic group plays the tính lute shakes rattlebells and waves a fan Some ceremonies are accompanied by a female dancing group Then is always transmitted orally while its rituals are conducted reflecting its succession between the generations and Then Masters play a key role in passing on the related skills and knowhow with some conducting around 200 ceremonies a year

Nuad Thai traditional Thai massage is regarded as part of the art science and culture of traditional Thai healthcare As a nonmedicinal remedy and manual therapy it involves bodily manipulation in which the practitioner helps rebalance the patients body energy and structure to treat illnesses believed to be caused by the obstruction of energy flow along sen lines understood to crisscross the human body This manipulation is intended to normalize the four body elements earth water wind and fire To open up blocked routes Nuad Thai therapists perform a combination of manipulations using their hands elbows knees and feet together with herbal hot compresses to reduce inflammation Presently Nuad Thai is classified into two main types Nuad Thai therapy and Nuad Thai for health promotion Nuad Thai has its roots in selfcare in Thai peasant society of the past every village had massage healers whom villagers would turn to when they had muscle aches from working in the field Over time these experiences have evolved into a formal system of knowledge and Nuad Thai is now an incomegenerating occupation In 1985 the Project for the Revitalization of Thai Massage was launched to revitalize and maximize knowledge of Nuad Thai and an initiative has also been taken to form an alliance of Nuad Thai practitioners who come together annually

The movements of Khorazm dance Lazgi encapsulate human creativity by reflecting the sounds and phenomena of surrounding nature feelings of love and happiness Initially associated with the Khorazm Region Khorazm dance Lazgi has since become widespread in Uzbekistan Paintings of the dance can be found in the archaeological site of Tuproqqala in the Khorazm Region testifying to its centuriesold roots Informed by the social life and activities of the local communities Lazgi dance represents real life in all its movements During the dance all the musicians singers and dance performers act in a harmonized way and the lyrics of the songs are mainly devoted to glorifying love and kindness Two types of dance exist the scenery dance and the interpretive improvised form While the scenery dance represents these feelings through concrete movements its interpretation focuses on improvisation as the rhythm and dance movements become more dynamic with changeable actions The melody and dance of Lazgi are so attractive that spectators start dancing voluntarily Khorazm Dance Lazgi is a key form of selfexpression and is transmitted across the generations through the creation of new versions of performances It is performed during national holidays and folk festivities in scenery forms as well as in the dailybased interpretation form during community and family events

Ommegang of Brussels an annual historical procession and popular festival takes place annually over two evenings in July in the historic centre of Brussels The celebration begins with a crossbow competition and a ceremony in Sablon Church In the surrounding streets various groups form a large procession The procession follows a 15 km route through the city to the GrandPlace where the groups join the Magistrate of Brussels and bearers of various forms of living heritage Together they march around and some groups partake in an organic performance that has evolved since 1930 Having originated as a religious event in 1348 the tradition declined in the 18th century and the modern Ommegang was then recreated in 19281930 based on descriptions of the procession Charles V attended in 1549 Nowadays the tradition has evolved into a festive local heritage event Among the participants are various groups of volunteers who meet and prepare their roles together encouraging younger members to get involved These groups have become club associations which during the Ommegang in early July meet and socialize with other groups Children attend with their parents and many people have been involved for forty or fifty years The viability of the practice is constantly monitored and the association overseeing the Ommegang is continuously engaged in preparing and promoting the next event

Traditional Turkish archery encompasses principles rituals and social practices the craftsmanship of traditional equipment archery disciplines and shooting techniques that have evolved over the centuries In traditional Turkish archery there are different types of disciplines practised on foot and horseback Bearers and practitioners train individually or collectively to improve their skills carry out individual shootings and take part in competitions and festive events The craftsmanship of traditional archery equipment is a key component of the element The equipment is made with raw materials such as trees grown under certain climatic conditions at high altitudes organic glues horns tendons silk and leather Craftspeople must therefore have advanced knowledge of nature including plants animals and the climate Archery equipment is generally decorated with calligraphy ornaments and marquetry Craftspeople engaged in the craftsmanship of traditional archery equipment also play an important role in safeguarding the element with the related skills being transmitted from master to apprentice or through selflearning In recent years there has been a remarkable increase in the number of female archers and trainees as well as a significant increase in the number of nongovernmental organizations involved in archery in various regions of Turkey Bearers and practitioners ensure the continued viability of the element by adopting it to fit contemporary conditions

The practices and craftsmanship associated with the Damascene rose are mainly practised by farmers and families in AlMrah village in rural Damascus who possess expert knowledge of producing essential oils and traditional medicine from the Damask Rose among other things as well as the village community and families who organize the yearly Damascene Rose Festival The Damascene Rose begins to bloom in May when the picking commences and the annual festival kicks off Farmers and their families head to the fields in the early morning to handpick the roses and then return home by afternoon when the whole family helps sort the rose buds that are dried to make tea The other rose petals are stored and prepared for distillation The women of the village help each other make rose syrup jam and pastries as they sing along to local tunes Apothecaries sell the dried Damascene Rose for its numerous medicinal benefits The festival attracts people from many surrounding villages who come to take part and enjoy the atmosphere Roseinfused dishes are presented by women and a collection of folk songs and incantations celebrating the Rose are sung by all The festival is a testament to the elements unfading cultural significance for its bearers and their enduring commitment to its safeguarding

Hatajo de Negritos and the Hatajo de Pallitas from the Peruvian southcentral coastline are two complementary expressions featuring music and singing as part of Christmas celebrations hailing from the central department of Ica in Peru The expressions are biblical representations of the story of the visit of a group of shepherds to the newborn baby Jesus and the arrival of the Wise Men Both expressions combine preHispanic Andean values with the European Catholicism and rhythmical inheritance of African descendants arriving in the Americas in colonial times This complexity has allowed both expressions to become representations of the mestizo and afrodescendant identity of the region The dance of the negritos is mostly performed by men to the tune of a long fiddle along with singing shoetapping dance and bells The dance of pallitas is performed by women to the sound of the guitar or fiddle accompanied by a zapateo and singing Both dances regarded as symbols of religious devotion and spiritual contemplation are performed by groups of up to fifty people in town squares and churches in December and January as well as in family homes Both expressions are taught to the younger generation from early childhood with elders encouraging children to learn a large variety of Christmas carols zapateo rhythms and dance sequences as a sign of devotion

The Celestinian forgiveness celebration was inspired by Pope Celestine V who issued a historical Bull as an act of partnership among local populations Taking place in the city and province of LAquila the tradition comprises a set of rituals and celebrations transmitted uninterruptedly since 1294 The practice conveys a sense of continuity and cultural identity for the whole community The Forgiveness Walk opens with the lighting of the Fire of Morrone and its descent accompanied by a candlelight procession The procession proceeds along a traditional itinerary marked by the lighting of tripods in each of the twentythree villages involved where the mayor signs a parchment recalling the Bulls symbolic values The community gathering ends on 23 August in LAquila with the lighting of the last tripod Drums clarions and flag bearers enliven and mark the rhythm of the Parade which involves 1000 citizens dressed in traditional costumes Participants walk along with the three main characters the Lady of the Bull the Young Lord and the Lady of the Cross symbolizing the traditional values of the celebration hospitality solidarity and peace The meanings and traditional practices of the element are transmitted through tales told at home in schools and in community gathering places and the communitys constant participation in the celebration has ensured its viability over time

Gnawa refers to a set of musical events performances fraternal practices and therapeutic rituals mixing the secular with the sacred Gnawa is first and foremost a Sufi brotherhood music combined with lyrics with a generally religious content invoking ancestors and spirits Originally practised by groups and individuals from slavery and the slave trade dating back to at least the 16th century Gnawa culture is now considered as part of Moroccos multifaceted culture and identity The Gnawa especially in the city practise a therapeutic possession ritual through allnight rhythm and trance ceremonies combining ancestral African practices ArabMuslim influences and native Berber cultural performances The Gnawa in rural areas organize communal meals offered to marabout saints Some Gnawa in urban areas use a stringed musical instrument and castanets while those in rural areas use large drums and castanets Colourful embroidered costumes are worn in the city while white attire with accessories characterize rural practices The number of fraternal groups and master musicians is constantly growing in Moroccos villages and major cities and Gnawa groups organized into associations hold local regional national and international festivals yearround This allows young people to learn about both the lyrics and musical instruments as well as practices and rituals related to Gnawa culture generally

Traditional technique of making Airag in Khokhuur and its associated customs includes the traditional method of making airag a fermented beverage made from mares milk and the related equipment such as the khokhuur cowhide vessel buluur paddle and khovoo kibble associated with the social customs and rituals The basic airagmaking technique consists of milking the mares cooling the fresh milk and repeatedly churning it inside the khokhuur over 500 times with starter left inside to assist fermentation The khokhuur and related equipment are made by individuals with centuriesold knowledge and skills and the skills required for preparing and maintaining the yeast are also particularly important A nutritious and easily digestible beverage airag is an important part of the daily diet of Mongolians and has also been proven to be effective for curing certain diseases It also plays an essential role as a symbolic beverage in the daily lives of herders and various social celebrations airag is used and served as a key holy drink during various fests and in offerings and ritual blessings Bearers and practitioners inherit the related traditional practices and knowledge from their parents which has kept the tradition alive for thousands of years

KwaghHir theatrical performance is a composite art form encompassing a spectacle that is both visually stimulating and culturally edifying Kwaghhir has its roots in the storytelling tradition of the Tiv people called kwaghalom a practice where the family was treated to a storytelling session by creative storytellers usually in the early hours of the night after the days farming work With time creative storytellers began to dramatize these stories culminating in the present stage and status of Kwaghhir The practice is a social performance with the potential to entertain and teach moral lessons through the dramatization and performance of past and current social realities As a form of total theatre Kwaghhir incorporates puppetry masquerading poetry music dance and animated narratives in articulating the reality of the Tiv people Peoples daily struggles aspirations successes and failures are all given expression through creative dramatization Khwaghhir theatre is owned by the community with knowledge and skills being transmitted through apprenticeship People who indicate an interest in the troupes activities are trained and mentored until they reach a certain level of proficiency they are then accepted into the troupe Regular performances are held to ensure the art is kept alive and that the younger generation continues to identify with it

VIDEO42131MEDR Democratic Peoples Republic of Korea Ssirum wrestling is a physical game practised popularly in all regions of the Democratic Peoples Republic of Korea where two opponents try to push each other to the ground using a satpa a fabric strap connecting the waist and leg their torso hands and legs Ssirum is distinguished by the use of the satpa and the awarding of a bull to the winner Since ancient times Koreans have practised Ssirum for physical training purposes during breaks from work and especially during big contests on folk holidays On folk days when Ssirum takes place lots of people old and young gather around the ring wrestlers compete using diverse techniques spectators enthusiastically cheer on their favorites and the winner rides a bull in celebration As an exercise of the whole body Ssirum fosters the cultivation of the body and mind It also encourages mutual respect and cooperation contributing to the harmony and cohesion of communities and groups Pyongyang the capital city plays a central role in enacting protecting and transmitting Ssirum comprising a number of communities organizations and institutions concerned with the practice including the Korean Ssirum Association Koreans start learning Ssirum from family members and neighbours from childhood and it is taught by educational institutions at all levels VIDEO42132MEDR Republic of Korea Ssireum or traditional wrestling is a popular form of entertainment widely enjoyed across the Republic of Korea Ssireum is a type of wrestling in which two players wearing long fabric belts around their waists and one thigh grip their opponents belt and deploy various techniques to send them to the ground The winner of the final game for adults is awarded an ox symbolizing agricultural abundance and the title of Jangsa When the games are over the Jangsa parades around the neighbourhood riding the ox in celebration Ssireum games take place on sand in any available space in a neighbourhood and are open to community members of all ages from children to seniors They are played on various occasions including traditional holidays market days and festivals Different regions have developed variants of ssireum based on their specific backgrounds but they all share the common social function of ssireum enhancing community solidarity and collaboration As an approachable sport involving little risk of injury ssireum also offers a means of improving mental and physical health Koreans are broadly exposed to ssireum traditions within their families and local communities children learn the wrestling skills from family members local communities hold annual open wrestling tournaments and instruction on the element is also provided in schools

Dondang Sayang is a traditional Malay art still practised in Melaka by four communities the Malay Baba Nyonya Chitty and Portuguese communities The practice combines elements of music violins gongs and tambourines or the tambour songs and chants and features beautiful melodious strains of poetry Also known as love ballads the songs are used by communities to convey feelings of love and give advice on special topics such as love and kindness During the Melaka Sultanate era in the fifteenth century Dondang Sayang was performed at Royal Palace ceremonies and events subsequently the performance became widespread among the communities concerned Based on tradition Dondang Sayang performances are accompanied by music and sung by two singers of the opposite sex who sing in quatrains Typically Dondang Sayang singers are individuals who are highly competent and skilled in poetry recitation Dongdang Sayang performances are open to all irrespective of age occupation status or religion and the art is considered as a means of conveying positive messages and sharing feelings of love joy and sorrow that strengthen community bonding Performances are held on a regular basis especially during gatherings festivals and parties and nowadays many cultural programmes activities and training activities are organized for those interested in participating and improving their singing and performance skills

The epic culture folk tales and music of Dede QorqudKorkyt AtaDede Korkut are based on twelve heroic legends stories and tales and thirteen traditional musical compositions shared and transmitted across the generations through oral expressions performing arts cultural codes and musical compositions Dede Qorqud appears in each story as a legendary figure and wise individual a sage of minstrels whose words music and expressions of wisdom relate to traditions of birth marriage and death In the musical compositions the main intonations are reproduced using a musical instrument called the Kobyz through the sounds of nature and imitation soundscapes are characteristic of this medium such as the imitation of a wolfs howl or a swans note The musical compositions are all interconnected by the epic stories that accompany them The element encompasses social cultural and moral values such as heroism dialogue physical and spiritual wellness and unity as well as respect for nature and contains profound knowledge about the history and culture of Turkicspeaking communities It is practised and sustained by the community concerned on a wide variety of occasions from family events to national and international festivals and is therefore wellrooted in society serving as a connecting thread between generations

The annual celebration of La Romería on 12 October honouring the image of the Virgin of Zapopan is a tradition that dates back to 1734 The day marks the final phase of the annual ritual cycle popularly known as The Carrying of the Virgin which begins in May and encompasses many community and liturgical activities The cycle ends with the return journey to the Basilica in Zapopan More than two million people take part and one of the main features of the festivity is the huge presence and participation of different native dancer groups The carrying La Llevada and the activities derived from the ritual cycle encompass a mass public demonstration in which the streets and public spaces become a ritual festival for the community featuring different artistic expressions of collective collaboration Throughout the year the planning of the activities depends on the interaction of different communities helping them to renew and reinforce their social ties Thanks to the communitys support for the practice year after year La Romería is considered as one of the most popular and strongly rooted traditions in west Mexico Through organized civil and ecclesiastical groups the community of bearers and practitioners has ensured the survival of this cultural manifestation

Traditional spring festive rites of the Kazakh horse breeders taking place in Terisakkan Village in the Ulytau District of Karaganda Oblast mark the end of the old and the beginning of the new yearly horsebreeding cycle Rooted in traditional knowledge about nature and the ageold relations between man and horse the rites involve skills inherited from nomadic ancestors adapted to presentday reality Preceded by yearlong preparations the main constituents of the practice are Biye baylau literally tethering mares the ancient first milking rite encompassing the separation of mares and foals from the herds milking the mares and celebrating with songs dances and games Ayghyr kosu figuratively the stallions marriage a recent rite for adjoining stallions in herds and Kymyz muryndyk metaphorically the initiation of koumiss the first koumiss sharing rite opening the season of its production and sharing The rites take around three weeks in total until the koumiss sharing ceremonies which take place in every household are over The rites open a new yearly cycle of reproduction and manifest traditional Kazakh hospitality Faced with the forced transition in the twentieth century from a nomadic way of life to a settled one bearers have adapted the traditional form of horse breeding to meet presentday conditions to ensure its continued viability

Held for the first time in 1820 in the town of Remedios the Festivity of Las Parrandas is now celebrated by eighteen communities in the centre of Cuba mostly taking place towards the final months of the year The Parrandas is a cultural competition between the two neighbourhoods or parties into which each town is divided with spies attempting to spoil the surprise of the opposing neighbourhood on the night of the festivity The two parties work all year long to prepare for the competition which takes place on the night of the Festivity of Las Parrandas The festivities involve a wide range of expressions including the design and construction of replicas and monuments floats and costumes songs and dances fireworks and decorations such as lamps lanterns banners and emblems allegoric to each neighbourhood Everyone in the eighteen communities regardless of their social class gender age religion profession or background is involved in the festivities and the monuments replicas of monuments and floats constitute a spectacular display of the imagination and creativity of the groups who recreate and reenact stories using lights colours and shapes Traditional knowledge and skills related to the element are constantly combined with new elements meaning that Las Parrandas are always traditional and contemporary at the same time

The pottery skills of the women of Sejnane relate to the practice of using a specific technique to produce terracotta artefacts for the home including cooking utensils dolls and animal figurines inspired by the environment All stages of the potterymaking process are performed by women who also sell the pots in the village and by the side of neighbouring roads women therefore occupy a prominent place in the community The clay is usually extracted from wadi beds and is then cut into blocks crushed purified and soaked in water before being kneaded and shaped Once fired the pots are then decorated with twotone geometrical patterns reminiscent of traditional tattoos and Berber weaving Men are involved in the sales process making this a familybased craft that promotes family cohesion Faced with socioeconomic changes the women of Sejnane have adapted their craft to modernday needs and fluctuations in demand showing their capacity for innovation The knowledge and skills relating to the craft of handmade pottery in Sejnane are passed down through traditional and informal education in communities where daughters are encouraged to learn this art of firing alongside going to school The National Office for Crafts also delivers training courses for young women in the community who want to dedicate themselves to this activity

The LandofLegends programme is aimed at promoting and revitalizing the art of storytelling in the Kronoberg region of southern Sweden In Sweden as elsewhere factors such as industrialization urbanization and television and social media have led to the disappearance of traditional venues for storytelling and modes of transmission with practices of telling stories to exchange experiences and convey knowledge and values dying out In the late 1980s a number of librarians and teachers in the Kronoberg region organized a festival involving practitioners enthusiasts and experts from various parts of Sweden to discuss this situation and devise possible solutions Shortly after in November 1990 the Storytelling Network of Kronoberg was created known as the Association to raise awareness about the endangered viability of storytelling and develop measures for its revitalization The Association initiated the LandofLegends programme which organizes a range of activities including a storytelling festival camps for teenagers activities in schools and academia courses for future teachers and remedial activities Over time international contacts have been developed and several aspects of the programme have served as a model for activities elsewhere The programme links storytelling to other forms of living heritage helping to revitalize and promote it as a living art

The art of dry stone walling concerns the knowhow related to making stone constructions by stacking stones upon each other without using any other materials except sometimes dry soil Dry stone structures are spread across most rural areas mainly in steep terrains both inside and outside inhabited spaces though they are not unknown in urban areas The stability of the structures is ensured through the careful selection and placement of the stones and drystone structures have shaped numerous diverse landscapes forming various modes of dwelling farming and husbandry Such structures testify to the methods and practices used by people from prehistory to today to organize their living and working space by optimizing local natural and human resources They play a vital role in preventing landslides floods and avalanches and in combating erosion and desertification of the land enhancing biodiversity and creating adequate microclimatic conditions for agriculture The bearers and practitioners include the rural communities where the element is deeply rooted as well as professionals in the construction business Dry stone structures are always made in perfect harmony with the environment and the technique exemplifies a harmonious relationship between human beings and nature The practice is passed down primarily through practical application adapted to the particular conditions of each place

Međimurska popevka a folksong from the Međimurje region in the northwestern part of Croatia was historically predominantly a soloist vocal genre practised by women Nowadays it is performed by individuals and groups men and women in vocal vocalinstrumental instrumental monophonic and multipart renditions as a musical genre or incorporated into the dance The lyrics are of great importance and establish a basis for the classification into among others love sadmelancholic humorous and church popevkas The most active bearers are mostly members of culturalartistic societies and associations which have a long history in the country but individual singers also play a key role as nuanced soloist renditions are typical for popevka The element is practised in a broad range of social contexts from solitary musicmaking to family and community happenings work gatherings religious events and performances within and outside of Međimurje The average inhabitants have all experienced popevka in numerous situations throughout their lives and are encouraged to join the musicmaking on such occasions There are currently around fifty singers regarded as masters of the art for their transmission of classical merits of the genre and their capacity to imbue it with personal expressions and women often serve as mentors in transmitting the practice to younger generations

The art of Chakan embroidery is the practice of sewing ornaments images of flowers and symbolic drawings with colourful threads on cotton or silk fabrics The tradition is widespread among women and girls in Tajikistan Chakan embroidery is used to decorate clothing and household items such as womens shirts headscarves curtains pillows bedspreads and coverlets for cradles The embroidery features symbolic depictions and mythological images relating to the surrounding nature and cosmos which express peoples wishes and hopes The practice involves selecting the textile and threads drawing ornaments creating needlepoint images and sewing clothes In the past the threads were prepared from cotton and silk fibres and coloured with natural paints made with plants and minerals nowadays Chakan dressmakers use fabric threads for needlework In the Khatlon region the Chakan shirt is an important bridal dress Grooms wear a tāqi the national skullcap featuring Chakan embroidery and Tajik women and girls wear the Chakan dress during traditional festivals and holidays The embroidered products are an expression of beauty elegance and the unity of humans and nature The young generation learn the art from their mothers grandmothers and older sisters and transmission also occurs in groups through the socalled ustodshogird masterstudent method Individual craftswomen sell their products in bazaars and through dress shops providing an important way of earning

Having originated within a cultural space that was home to marginalized groups mainly in Western Kingston the Reggae music of Jamaica is an amalgam of numerous musical influences including earlier Jamaican forms as well as Caribbean North American and Latin strains In time NeoAfrican styles soul and rhythm and blues from North America were incorporated into the element gradually transforming Ska into Rock Steady and then into Reggae While in its embryonic state Reggae music was the voice of the marginalized the music is now played and embraced by a wide crosssection of society including various genders ethnic and religious groups Its contribution to international discourse on issues of injustice resistance love and humanity underscores the dynamics of the element as being at once cerebral sociopolitical sensual and spiritual The basic social functions of the music as a vehicle for social commentary a cathartic practice and a means of praising God have not changed and the music continues to act as a voice for all Students are taught how to play the music in schools from early childhood to the tertiary level and Reggae festivals and concerts such as Reggae Sumfest and Reggae Salute provide annual outlets as well as an opportunity for understudy and transmission for upcoming artists musicians and other practitioners

Khon the Khon Masked Dance Drama in Thailand is a performing art that combines musical vocal literary dance ritual and handicraft elements Khon performances which involve graceful dance movements instrumental and vocal renditions and glittering costumes depict the glory of Rama the hero and incarnation of the god Vishnu who brings order and justice to the world The many episodes depict Ramas life including his journey in the forest his army of monkeys and his fights with the army of Thosakan king of the giants On one level Khon represents high art cultivated by the SiameseThai courts over centuries while at another level as a dramatic performance it can be interpreted and enjoyed by spectators from different social backgrounds Khon has a strong didactic function reinforcing respect for those of a higher age and status mutual dependence between leaders and followers the honour of rulers and the triumph of good over evil Traditionally Khon was transmitted in the royal or princely courts and in dance masters households Today however transmission occurs mostly in educational institutions while still adhering largely to traditional methods Concerted efforts are made to ensure the continuity of the practice including through the establishment of training and performance clubs that help reach out to young people

Lum medicinal bathing of Sowa Rigpa is a practice developed by the Tibetan people as part of a life view based on the five elements and a view about health and illness centered on three dynamics Lung Tripa and Pekan In Tibetan Lum indicates the traditional knowledge and practices of bathing in natural hot springs herbal water or steam to adjust the balance of the body and mind ensure health and treat illness Influenced by the Bon religion and Tibetan Buddhism Lum embodies folk experiences in illness prevention and treatment and reflects the transmission of traditional knowledge represented by the Gyud zhi treatise the Four Tantras in presentday health practice Bearers and practitioners include farmers herdsmen and urban residents in Tibetan areas with the Manpa physician Lum Jorkhan pharmacist and Manyok assistant bearing special responsibilities for its transmission The element plays a key role in improving health conditions fostering a social code of behaviour and promoting respect for nature It has been transmitted over the generations through daily life religious rituals folkloric activities and medicinal practices and has also been incorporated into the curricula of modern medical colleges as a complement to formal education

The Budslaŭ Fest takes place in Budslaŭ village in the Minsk region Since the seventeenth century every year on the first weekend of July tens of thousands of pilgrims from all over Belarus and other countries have come to Budslaŭ to participate in the celebrations in honor of the Budslaŭ icon of Our Lady with some making the pilgrimage on foot The Icon the patroness of Belarusian people is known for many miracles and Budslaŭ is recognized as the place where according to legend Our Lady appeared to believers in July 1588 Elements of the celebration include priests welcoming the pilgrims masses a night procession with the Icon and candles a youth prayer vigil and hours of prayer to the Mother of God The tradition is an integral part of the history and culture of the local community of Budslaŭ with bearers including people of all ages and social statuses It attracts entire families and believers of all ages which helps strengthen intergenerational ties Related knowledge is preserved and transmitted by local inhabitants who are very proud of the relic they show pilgrims a warm welcome inviting them to local homes to share meals with them Pilgrims visiting Budslaŭ learn all about the local traditional culture including the ceremony and local traditions such as crafts customs and cuisine

Enkipaata Eunoto and Olngesherr are three interrelated male rites of passage of the Maasai community Enkipaata is the induction of boys leading to initiation Eunoto is the shaving of the morans paving the way to adulthood and Olngesherr is the meateating ceremony that marks the end of moranism and the beginning of eldership The rites of passage are mainly practised by young men of the Maasai community aged between fifteen and thirty but women also undertake certain tasks By educating young people about their future role in Maasai society the rites serve to induct them first to moranhood then as young elders and finally as senior elders Respect and responsibility safeguarding of the lineage transfer of powers from one age set to the next and the transmission of indigenous knowledge such as in relation to livestock rearing conflict management legends traditions and life skills are some of the core values embedded in those rites of passage However while the rites still attract relatively sizeable crowds the practice appears to be rapidly declining due to the fast emergence of agriculture as a main source of income reforms of the land tenure system and the impact of climate change that affects the survival of cattle

Singing to the accompaniment of the Gusle a simple string instrument is an ancient art of performing primarily heroic epics practised for centuries as a form of historical memory and an expression of cultural identity Performances involve a complex form of interaction between the audience and performer and are based on the skills and creativity of soloist artists guslars the guslars ability to dramatize poetic content body language and charisma are key for successful performances The repertoire includes songs predominantly about mythical and historical heroes events from the legendary past ancient or recent history and less commonly ballads and humorous songs Stage performances take place locally at festivals and as part of commemoration practices Covering a wide range of topics the songs reflect the value system of the community and their interactive character fosters community feeling Most modern guslars acquire the basic singing and playing skills from more experienced players in their family local community or a guslar association but the skills are also transmitted in public music schools Local organizations are assembled around the Union of Guslars of Serbia whose efforts have resulted in the establishment of the Festival of Young Guslars and the Assembly of the Young Guslars of Serbia

Bobbin lacemaking in Slovenia is a handicraft skill of making lace by crossing and twisting thread wound on special wooden sticks known as bobbins Using locally recognizable patterns with local names bobbin lacemakers make lace in bands or in finished shapes The bobbin lacemaking process follows a specific pattern a drawing on paper is attached to a cylinder pillow in a wicker basket or on a wooden base The lace is used to adorn clothing and fashion accessories church and home textiles and representative spaces but bobbin lacemaking also serves as an inspiration for artistic creations in fields such as the contemporary visual arts design architecture and culinary design It is the creative expression of all those involved in the process including the pattern designer and the bobbin lacemaker Bobbin lacemaking has notable therapeutic functions and is an ecologically clean and sustainabilityoriented activity There are around 120 bobbin lacemaking societies sections and groups in Slovenia today which include trained bobbin lacemakers and those who are still learning Bearers mostly comprise women and the knowledge and skills related to the practice are most frequently passed down from grandmothers to grandchildren the socializing of female bobbin lacemakers in neighbourhood communities is also key for transmitting related knowledge and skills

Avalanche risk management has shaped the identity of Alpine populations as every winter they deal with the threat avalanches pose to inhabitants tourists means of communication and other vital infrastructure Since the Alps are densely populated the phenomenon of avalanches is a prime concern and a collective responsibility of the communities For centuries inhabitants and highlanders have developed local empirical knowledge management and riskavoidance strategies as well as cultural practices to guard themselves against avalanche hazards Nowadays modern tools such as measurement instruments and risk mapping complement traditional knowledge which continues to be developed and adjusted on the ground by knowledge bearers The element is entrenched in the everyday culture of the communities concerned and underscores the importance of solidarity in crisis situations Assessing avalanche risks requires a sound knowledge of nature especially the terrain snow weather conditions and past avalanches While that knowledge was once transmitted verbally nowadays it is the result of a dynamic process combining empirical knowledge and practical experience knowledge is transferred from science to practice and from the ground to research Numerous training activities are offered and those interested have access to a wide range of information sources such as avalanche bulletins the media checklists websites media manuals and exhibitions

Suri Jagek literally translated as observing the sun is the traditional Kalasha meteorological and astronomical knowledge system and practice enacted predominantly in the Hindu Kush mountain range based on the observation of the sun moon stars and shadows with respect to the local topography The system is a complex structure of empirically observed knowledge and is repeatedly referenced to allow the Kalasha people to predict the appropriate time for sowing seeds animal husbandry and natural calamities It is also used to govern the Kalasha calendar by determining the dates of important social events festivals feasts and religious ceremonies The practice demonstrates the relationship of the Kalasha people with their surroundings and the importance of their immediate geographical context to sustain their way of life The viability and transmission of the knowledge system rest on an innovative transfer of information through folk stories songs proverbs and rhetoric and certain aspects of it such as the study of shadows and its use in rearing cattle and livestock are being recreated to fit into modern society However with the advent of the digital age people are increasingly opting for more technologically advanced means of predicting weather conditions While the practice remains visible as an oral tradition there is currently a lack of awareness among the younger generation about its cultural significance and benefits

The ritual and festive expressions of the Congo culture encompass the contemporary vision of a collective celebration of the black rebel descendants enslaved during the colonial period Nowadays participants play congo celebrate their freedom cheerfully sing about their everyday lives and perform representations and sensual dances barefoot to communicate with the earth During the Congo season from 20 January San Sebastian Day until Ash Wednesday participants spend the day in a palisade the gathering is celebrated in a matriarchal society ruled by a queen and her court each person has a role to fulfil to protect the queen and members of the palisade from the devils diablos On Ash Wednesday the season concludes with a confrontation between the diablos and the congos the queen and congos take off their masks and baptize the devils in a symbolic ritual to free them and neutralize their evil until the cycle recommences the following year For generations the expressions have fostered social integration and provided a way of expressing joy and sensuality Congo culture expressions are transmitted orally and everyone takes part Congo singing dancing and music programmes have also been held in schools instruction is provided at the university level and courses and weekend workshops are organized

Rūkada Nātya is a type of drama performed using string puppets traditionally to provide light entertainment and convey moral lessons to village communities Rūkada Nātya is performed by family groups who belong to or are connected with the lineage known as Gamwari living around the southern coastal towns of Ambalangoda Balapitiya and Mirissa The themes are chosen from folktales Buddhist stories ancient literature historical narratives and trivia with humorous anecdotes from contemporary life or nadagam an extinct form of folk opera Puppeteers make their own wooden puppets and prepare handwritten scripts with dialogues and songs which they recite while manipulating the puppets A small band provides a musical accompaniment and performances are community events Through the medium of puppet drama worldviews and core values essential for peaceful communal coexistence come alive for young people to easily comprehend the practice is therefore an effective way of conveying messages crucial for maintaining cohesiveness among community members It also allows community members to laugh and have fun together helping them socialize Museums play a key role in contributing to the dissemination of related knowledge as does the traditional practice of holding performances during festive times in May and June at temple premises traditional community centres in Sri Lankan culture

Chidaoba wrestling is an ancient form of martial art practised by a large proportion of the male population throughout all the regions villages and communities of Georgia Bearers of the tradition include young people city residents sports clubs educational institutions and amateur organizations The practice is a complex phenomenon that combines elements of wrestling music dance and special garments chokha Having had a combat function until the late Middle Ages Chidaoba gradually became a spectacular sport Tournaments take place in an openair arena surrounded by a large audience accompanied by a wind instrument zurna and Georgian drum doli music which marks the beginning Wrestlers attempt to defeat each other through special holds and vibrant music enhances the dynamics of the contest The code of conduct is chivalric and occasionally the wrestlers leave the arena with a Georgian folk dance Chidaoba uses an important number of special wrestling holds there are an estimated 200 such holds and counterholds the combination of which speaks to the wrestlers creativity The practice encourages a healthy lifestyle and plays an important role in intercultural dialogue From early spring to autumn young people practise wrestling outdoors mastering skills previously acquired by watching matches and there are wrestling sections in almost every village and city of Georgia

Mooba is the main dance of the Lenje ethnic group of Central Province of Zambia performed since precolonial times It is also practised in parts of Copperbelt and Lusaka Provinces by both men and women On certain occasions when the dance reaches its peak some lead dancers are possessed by ancestral spirits called BaChooba it is said that at this point the spirits take the lead in dictating the flow of the dance drumming and singing Both male and female dancers can be possessed with BaChooba spirits The costume includes coloured beads a traditional skirt called a Buyombo and rattles worn around the calves In addition the main dancers hold a spiritual stick known as a Chimika and a fly whisk made out of an animals tail Mooba serves both entertainment and healing functions and contributes to the spiritual identity of the community Since the element is performed during social functions that are open to the public children can observe and learn it freely with performances attracting a wide audience thanks to their entertaining nature Almost every adult knows the Mooba dance as it is the main dance of the Lenje people The Lenje community has also established groups that perform wherever they are invited helping to promote the practice further afield

Lkhon Khol Wat Svay Andet is practised in one community surrounding a Buddhist monastery Wat Svay Andet located about 10km east of Phnom Penh on the Mekong River and is performed by men wearing masks to the accompaniment of a traditional orchestra and melodious recitation The specific aim is to propitiate the Neak Ta guardian spirits of a place and its people thereby protecting and bringing prosperity to the community its lands and harvest When Lkhon Khol is performed spirit mediums are present and facilitate interactions between the Neak Ta performers and villagers When the spirits are satisfied with the performance villagers are blessed by them otherwise the dancers stop the music continues and the audience falls silent and carefully listens to the spirits Lkhon Khol is performed for ritual purposes mostly linked to the cycle of rice farming and the needs of farming communities The practice is transmitted orally within the community and the Head Monk and retired primary school principal recently initiated additional weekend classes and started writing down scripts for selected episodes After generations of transmission however several factors now threaten the viability of the element including environmental factors insufficient resources economic migration from the community and a fourteenyear break in transmission from 1970 to 1984 due to the war and the Khmer Rouge regime

AlAragoz is an old form of Egyptian theatre using traditional hand puppetry Performances are highly popular events during which puppeteers remain hidden inside a small portable stage while an assistant interacts with the puppets and crowd AlAragoz takes its name from the main puppet whose distinctive voice is created with a voice modifier Performers and the audience interact dynamically throughout the shows which have a comic and entertaining atmosphere and practitioners must be skilled in manipulating and maintaining the puppet as well as in improvisation and music Shows explore a variety of themes relating to daily life with a recurring theme being the struggle against corruption The art used to be presented by groups of travelling performers who moved from one folk celebration to another However when these performances began to dwindle performers and their assistants settled permanently in fixed places mostly in Cairo The viability of the practice is threatened by the changing social political legal and cultural circumstances of its enactment such as laws concerning public gatherings the rise of religious radicalism an overall decrease in interest among younger generations and the advanced age of its active practitioners The number of surviving practitioners has diminished while many of those who onceperformed stories have now disappeared

BlaudruckModrotiskKékfestésModrotlač which translates directly as blueprint or bluedyeing refers to the practice of printing a dyeresistant paste onto a cloth before dyeing over it with indigo dye The resistant paste prevents the dye from penetrating the design thereby ensuring the applied design remains white or undyed after the dyeing process To apply the designs onto the cloth practitioners use handcrafted blocks that are up to 300 years old featuring regionallyinspired patterns as well as generic designs or Christian motifs The representation of local flora and fauna is interrelated with the local culture of the regions Traditional indigo bluedyeing does not end with printing however the textile chain involves preparing the raw materials and spinning weaving finishing printing and dyeing them Nowadays businesses engaged in the practice mainly comprise small familyowned workshops run by the second to seventh generation of printers Each family workshop involves the cooperation of the various family members who each participate in every step of the production regardless of their gender Traditional knowledge is still based on mainly familyowned journals dating back to the nineteenth century and passed on through observation and handson practice Stakeholders feel a strong emotional bond with their products and the element encapsulates a sense of pride in longlasting family traditions

Shadow play is a traditional art consisting of handmade puppets moving behind a thin translucent curtain or screen inside a dark theatre now practised mainly in Damascus A light from behind the stage projects the shadows of the puppets onto the screen as they move along to an oral script and music The theatrical content of Shadow play revolves around humorous social criticisms employing elements of suggestion poetry prose singing and music and satire is employed to relay narratives between the two main characters the naïve Karakoz and his clever friend Eiwaz Other characters include female personalities and talking animals Performances are traditionally held in popular cafes where people gather to watch stories about everyday life The prevalence of Shadow play has declined over the years however notably due to the spread of modern technology and digital forms of entertainment and the mass displacement of Syrian people both inside and outside the country as a result of armed conflicts in Syria Performances in popular cafes have waned and are now mostly confined to festivals special holidays and theatres The confluence of these factors has negatively affected the sustainability of the element to the point that there is only one active Mukhayel puppeteer left in Damascus

Practised across many areas of Jordan AsSamer consists mainly of dancing and singing and is performed on various occasions most commonly during marriage ceremonies Practitioners range from young to older individuals with children being encouraged to take part during performances On the wedding day the father of the groom instructs the attendees to line up and start applauding and singing The performance that follows involves specific roles for certain people The AlHashi is a veiled woman always one of the inviters relatives who sings and dances in front of the AlSamer row while wearing an Abaya a loose black garment worn over the traditional garment Another person is the Wasq AlHashi one of the AlHashis relatives who takes hold of her sleeve or Abaya and asks her to sit down Then comes the role of the AlBadda a man who starts singing by directly addressing AlHashi to resume the dancing with poetry The lines of poetry uttered during the performance form an integral part of the tradition expressing feelings of joy peace intimacy and empathy among attendees Practising AsSamer consolidates social bonds and promotes cohesion and attendees of all ages are encouraged to participate spontaneously in an effort to transmit the related skills and knowledge to the next generations

Horse and camel Ardhah is practised across many regions of Oman On Alardhah day meaning the day of the festival in Arabic people gather around the racecourse to watch shows by horse and camel riders that reflect Omani peoples skill in dealing with and taming the animals Traditional arts such as the reciting of traditional poems also accompany the demonstrations Alardhah starts with a display of traditional acts such as horses and camels lying down riding standing up joining hands with another rider at great speed and other similar actions This is followed by a display of horses and camels draped with decorative clothing and beautiful silver sets Alardhah is associated with many social occasions in Omani society such as religious and national celebrations The practice is an integral part of the societys culture in rural and urban areas and reflects great skill as well as peoples devotion to the care of animals Alardhah involves both men and women and is an opportunity for traditional bands and craftspeople to display their talents At the community level Omanis organize Alardhah on various social occasions which involve young people Civil organizations also play a key role in transferring the related skills and horse groups at the university teach students equestrian skills and how to perform Alardhah

The Nativity Scene szopka tradition in Krakow is a social practice originating from Christmas celebration customs centred around constructing cribs Born in the nineteenth century the tradition is indissolubly connected to the City of Krakow and based on skills and knowledge passed down for generations The szopka is a lightweight construction featuring the nativity scene surrounded by representations of houses and monuments of Krakow all transformed by the individual maker Other scenes are also represented through figurines and artificial lighting depicting historical cultural and contemporary social events relating to life in the City of Krakow Poland and the world On the first Thursday of every December makers gather on Krakow Main Square to present their work and the Historical Museum of the City of Krakow makes their work accessible to the public from December to February helping to transmit knowledge related to the practice Practitioners include a group of forty of the most active bearers who construct new cribs every year and run workshops and lectures to promote the practice and transmit related knowledge The tradition is open to everyone encompassing a wide circle of people including spectators and visitors belonging to the urban community The practice also has significant educational functions passing on knowledge about the history of the city its local architecture and customs

Mwinoghe is an instrumental dance performed among three ethnic communities Sukwa Ndali and Bandya in the northern region of Malawi In the Chisukwa dialect the word Mwinoghe literally means Let us enjoy ourselves the dance is therefore performed to express joy and happiness Derived from a ceremonial dance of the neighbouring Karonga district called Indingala Mwinoghe is a relatively recent dance Dancers line up in two rows with men on one side and women on the other and perform twisting body and elaborate foot movements There is no singing the only sound comes from the three drums the whistle and the group leaders commands Mwinoghe is performed at social gatherings for entertainment purposes including on days of national significance People from all walks of life gather to watch the dance which serves a unifying function among different communities Other traditional dances are also organized on such occasions enabling people to celebrate their different cultures together Related skills and knowledge are mainly transmitted through observation and participation by young people during performances but the practice is also integrated into primary secondary and tertiarylevel curricula Mwinoghe features heavily in annual independence celebrations and individual communities have also created dance groups that perform at annual festivals and on other occasions

On 11 September each year the day of the beheading of St John the Baptist inhabitants of the villages around Ozren mountain go to Gostilij to pick iva grass After hiking up the hills villagers of all social gender and age groups pick iva grass both individually and in groups Iva must be picked carefully and pickers need to find it among the higher grass the process therefore usually takes a few hours When the picking is done they climb up Gostilij and assemble into smaller groups many wearing Ozren folk costumes to play dance and sing traditional music In the afternoon Orthodox priests climb up to the peak of Gostilij where they consecrate the iva Iva is consumed in different ways as a tea soaked in brandy mixed with honey both for its curative effect and preventively While in the past the practice was exclusively related to folk medicine nowadays its primary functions include hospitality and social integration as well as helping to safeguard Ozren costumes songs and dances that have been gradually disappearing The practice is transmitted spontaneously within the family as well as in primary schools Several local associations also invite similar organizations from different regions to take part in the practice leading to the inclusion of many practitioners from outside of Ozren

Raihoshin rituals take place annually in various regions of Japan especially in the Tohoku Hokuriku Kyushu and Okinawa regions on days that mark the beginning of the year or when the seasons change Such rituals stem from folk beliefs that deities from the outer world the Raihoshin visit communities and usher in the new year or new season with happiness and good luck During the rituals local people dressed as deities in outlandish costumes and frightening masks visit houses admonishing laziness and teaching children good behaviour The head of the household treats the deities to a special meal to conclude the visit and in some communities the rituals take place in the streets In some communities men of a certain age become the Raihoshin while in others women play such roles Because the rituals have developed in regions with different social and historical contexts they take diverse forms reflecting different regional characteristics By performing the rituals local people notably children have their identities moulded develop a sense of affiliation to their community and strengthen ties among themselves In accordance with their ancestors teachings community members share responsibilities and cooperate in preparing and performing the rituals acting as the practitioners responsible for transmitting the related knowledge

The element concerns the knowledge and skills of the water measurers of the foggaras system of channels or water bailiffs of the ksour village communities of Touat and Tidikelt The water measurers are involved in various operations from calculating water shares to repairing distribution combs and conducting water in the channel Every foggara connects several categories of social agents and knowledge bearers including owners manual workers accountants and water measurers but it is the water measurers knowledge that appears to be under threat The water measurers are a key figure in the life of the Saharan ksour because they manage a domain vital to the survival of all They play both an intellectual and a manual role and can be called upon continuously by the community However there is currently a lack of communication between young people and their elders and several factors have disrupted the proper functioning of the foggara including changes by the central government to relations of ownership the effects of urbanization and modernisation and a lack of consideration as to what steps need to be taken to ensure knowledge is transmitted The loss of activity for water measurers is directly reflected in their advanced age which demonstrates a lack of new practitioners entering the business

Hurling or Camogie a form of Hurling played by women is a field game played by two teams which dates back 2000 years and features strongly in Irish mythology most notably in the epic saga of Cú Chulainn It is played throughout the island of Ireland particularly in more fertile agricultural areas as well as overseas Traditionally the number of players in the game was unregulated and games were played across open fields Nowadays there are fifteen players on adult teams and the game is played on a clearly marked pitch Players use a wooden stick hurley similar to a hockey stick but with a flat end and a small ball sliotar with the aim being to use the hurley to strike the sliotar and hit it between the opposing teams goalposts The primary bearers and practitioners are the players known as hurlers male and camógs female Hurling is considered as an intrinsic part of Irish culture and plays a central role in promoting health and wellbeing inclusiveness and team spirit Today the skills are promoted and transmitted through coaching and games in schools and clubs As the custodians of Hurling the Gaelic Athletic Association and the Camogie Association both volunteerled organizations play a central role in transmitting the skills and values associated with Hurling

The skills related to perfume in Pays de Grasse cover three different aspects the cultivation of perfume plants the knowledge and processing of natural raw materials and the art of perfume composition The practice involves a wide range of communities and groups brought together under the Association du Patrimoine Vivant du Pays de Grasse Living Heritage Association of the Region of Grasse Since at least the sixteenth century the practices of growing and processing perfume plants and creating fragrant blends have been developed in Pays de Grasse in a craft industry long dominated by leather tanning Perfume plant cultivation involves a wide range of skills and knowledge for instance pertaining to nature soil weather biology plant physiology and horticultural practices as well as specific techniques such as extraction and hydraulic distillation methods The inhabitants of Grasse have made these techniques their own and helped improve them In addition to technical skills however the art also calls for imagination memory and creativity Perfume forges social bonds and provides an important source of seasonal labour Related knowledge is mostly transmitted informally through a long learning process that still takes place primarily in perfumeries In recent decades however there has been a growing interest in standardizing learning through formalized teaching

Tamboradas drumplaying rituals are loud group rituals based on the simultaneous intense beating of thousands of drums played uninterruptedly for days and nights in public spaces in towns and villages Each year this creates a captivating landscape of sound and identity in an atmosphere charged with emotion and an intense feeling of collective communion The tamboradas are part of the Catholic Holy Week celebrations and have special significance according to different places days and times Everywhere whether religious and devotional or secular and playful the practice creates a landscape of sensations and mutual respect The costumes instruments drum beats and drum rolls generate a rich local craft in which families and women play an important role Shared meals in public spaces also enhance the feeling of friendliness Communities prepare for the ritual all year round and are organized into different groups The practice and knowledge are transmitted within these groups by the most experienced individuals and the transmission process generates a strong sense of belonging to the group and a deep connection with the ritual among the entire community Various events ensure the intergenerational transmission of the practice such as childrens and national tamboradas drum roll and embroidery workshops and competitions

Yalli traditional group dances are dance expressions based exclusively on collective performances Typically yalli are performed in a circle chain or line and involve elements of games pantomime bird or other animal imitations physical exercises and movements The community of the yalli dances consists of practising dancers who enact the dances either spontaneously or in a planned manner at various festivities and celebrations Some variants of yalli bear a songlike character and are practised by both women and men while others are practised by men only and imitate pastoralist games with some elements of butting animals Until the midtwentieth century yalli were widely practised but several factors have impacted the transmission of the practice thereafter They include a gradual loss of social functions for certain types of yalli a preference for staged performances external factors such as labour migration and the economic crises of the late 1980s and early 1990s a shift from informal to formal transmission and a drastic simplification of the dances which has entailed a loss of diversity

The khaen music of the Lao people is played with a mouth organ that resembles panpipes but made with bamboo tubes of varying lengths each with a metal reed The player blows into the instrument through an air chamber and the sound produced depends on the size of the tube Khaen music is popular in all regions of the Lao Peoples Democratic Republic due to its harmonic richness It is usually part of village festivals and it is customary for people listening to it to become active participants in the songs and dances rather than merely spectators Khaen music is an integral part of Lao life that promotes family and social cohesion Thanks to the use of bamboo the practice is also linked to natural agriculture and healthy lifestyles Families play an important role in transmitting the art and khaen player associations exist in many local communities where young people can learn the art To maintain the practice in spite of lifestyle changes including urbanization several local communities associations and groups have begun various initiatives to consolidate and promote it through formal and nonformal education In 2005 the Association of Khaen Arts was established and various festivals are organized to promote and enhance the art

Punto is the poetry and music of Cuban farmers consisting of a tune or melody over which a person sings an improvised or learned stanza of ten octameter verse lines with a rhyming scheme There are two main variants of Punto punto libre a tune of free metre and punto fijo which can be in key or crossed Throughout history the element has typically been practised in the countryside though variants now exist throughout the rest of the population Punto is an essential element of Cuban intangible cultural heritage open to all which promotes dialogue and expresses the feelings knowledge and values of the communities concerned Knowledge and techniques related to the practice are transmitted from one generation to the next with one key method of transmission being based on imitation A teaching programme is also organized in Houses of Culture across the country involving workshops taught by bearers and practitioners of the element Seminars workshops contests festivals and events aimed at safeguarding and revitalizing Punto are organized throughout the country and an occupational category has now been assigned to the work of the practitioners and bearers turning this into a way of living for many

Rebetiko is a musical and cultural expression directly linked to song and dance that initially spread among the urban lower and workingclass populations in the early twentieth century Rebetiko songs are now a standardized repertoire in almost every social occasion involving music and dance The element is performed in public and performers encourage audience participation The practice is open to all and bearers could include any Greek or Greekspeaking person who enjoys this form of music and dance Rebetiko songs contain invaluable references to the customs practices and traditions of a particular way of life but above all the practice is a living musical tradition with a strong symbolic ideological and artistic character Initially transmission occurred exclusively orally through the live performance of songs and the instruction of younger performers with older instrumentalists and singers This nonformal method of learning is still important but the recent spread of sound recordings the mass media and cinema have reinforced other methods of transmission In the past decade Rebetiko has increasingly been taught in music schools conservatories and universities contributing to its wider dissemination and the musicians and people who enjoy Rebetiko continue to play a key role in keeping the practice alive

Nsima the Culinary Tradition of Malawi is a compound name for the culinary and dietary tradition of Malawians as well as the name of a single component of this tradition a form of thick porridge prepared with maize flour Nsima is prepared through an elaborate process requiring specific knowledge from pounding the maize into flour to selecting the accompanying food and then preparing and serving it Certain customs are followed during mealtimes for example to regulate gluttony and promote cleanliness and cohesion The process of growing storing processing and preparing the maize from which Nsima is made is bound up with Malawians way of life and eating Nsima is a communal tradition in families and an opportunity to strengthen bonds At an early age girls learn to pound maize or sift flour to prepare Nsima while young boys hunt for animals to provide accompaniments Communities ensure the safeguarding of the element through continued practice the publication of schoolbooks and recipes on Nsima the organization of festivals and the revitalization of the practice Most restaurants in Malawi also feature Nsima on their menus Knowledge relating to the element is transmitted informally between adults and children and through onthejob training and education

Kok boru a traditional horse game is a synthesis of traditional practices performances and the game itself It is a traditional game played by two teams on horseback where players try to manoeuvre with a goats carcass replaced with a mould in modernday games or ulak and score by putting it into the opponents goal The community of bearers includes players united in higher league semiprofessional and amateur teams as well as the general public The most experienced players serve as referees while another category consists of the Kalystar elders who ensure the fairness of the game The element is an expression of the cultural and historic tradition and spiritual identity of its practitioners and serves to unite communities regardless of social status fostering a culture of teamwork responsibility and respect Knowledge related to the element is primarily transmitted naturally by means of demonstration as well as during festive and social events and the community concerned is actively involved in ensuring its viability through the transmission of knowledge and skills research and the organization of training The National KokBoru Federation established in 1998 plays a key role in promoting and safeguarding the element through the development and organization of activities

Kochari is a traditional dance that is widely performed throughout Armenia during holidays festive celebrations family ceremonies and other social events It is open to all participants irrespective of age gender or social status Kochari provides a sense of shared identity and solidarity contributes to the continuity of historical cultural and ethnic memory and fosters mutual respect among community members of all ages It is transmitted through both nonformal and formal means and is one of the rare traditional dances whose chain of transmission has never been interrupted Formal means of transmission include the inclusion of a folk song and dance course in the curricula of comprehensive schools in Armenia since 2004 educational programmes in youth arts centres increased visibility of the element through the internet and other media outlets and institutional initiatives Folk dance groups have also been active in various communities since the 1960s and nongovernmental organizations regularly hold dance classes Nonformal transmission occurs within families and through spontaneously formed dance groups Communities groups and individuals are actively involved in ensuring the viability of the element notably through the Our dances and we initiative which has been carried out since 2008 with experienced practitioners playing a key role in safeguarding efforts

ColombianVenezuelan llano work songs are a practice of vocal communication consisting of tunes sung individually a capella on the themes of herding and milking The practice emerged from the close relationship between human communities and cattle and horses and is in harmony with the environmental conditions and the dynamics of nature forming part of the traditional animal husbandry system of the Llanos Transmitted orally from childhood the songs are repositories of the individual and collective stories of the llaneros Llano work songs have been gradually affected by economic political and social processes that modifying the llanero cultural universe have significantly weakened the practice For example ambitious government plans conceived from a developmental perspective have led to profound changes in the use of the land and in ownership systems and the modification of the social cultural and natural sites of the songs have resulted in a loss of interest in the values and techniques of llano work Llanero work songs thus face various threats to their viability Efforts to safeguard the element are nonetheless widespread including a pedagogical strategy involving more than twenty meetings for bearers and young people in the region training projects for schoolteachers and a proliferation of festivals

The art of crafting and playing with KamantchehKamancha little bow a bowed string instrument has existed for over 1000 years In the Islamic Republic of Iran and Azerbaijan it constitutes a major element of classical and folkloric music and performances occupy a central place in a wide number of social and cultural gatherings Contemporary practitioners mainly use a fourstringed KamantchehKamancha comprising a body and bow made with horsehair and players perform either individually or as part of orchestras Bearers and practitioners consist of craftspeople amateur or professional players and teachers and students of the element KamantchehKamancha is an essential part of musical culture in both countries and while crafting the instrument represents a direct source of earning a living craftspeople also perceive the art as a strong part of the intangible cultural heritage of their communities Through their music performers convey many themes from the mythological to the gnostic and the comic Today knowledge of performing and crafting KamantchehKamancha is transmitted both within families and in Statesponsored musical institutions and schools Knowledge about the importance of the music in promoting cultural identity is transmitted from generation to generation in all strata of society in both countries

Cultural Practices Associated to the 1st of March comprise traditions transmitted since ancient times to celebrate the beginning of spring The main practice consists of making offering and wearing a red and white thread which is then untied when the first blossom tree swallow or stork is seen A few other local practices also form part of a larger spring celebration such as purification actions in Moldova The artefact is considered to provide symbolic protection against perils such as capricious weather with the practice ensuring a safe passage from winter to spring for individuals groups and communities All members of the communities concerned participate irrespective of their age and the practice contributes to social cohesion intergenerational exchange and interaction with nature fostering diversity and creativity Informal education is the most frequent means of transmission in rural areas young girls are taught how to make the thread by older women while in urban areas apprentices learn from teachers craftspeople and through informal education Another occasion for transmission is provided by MartenitsaMartinkaMărţişor workshops organized by ethnographic museums The communities concerned are actively involved in efforts to inventory research document and promote the element and numerous cultural projects geared at its safeguarding are underway

Konjic woodcarving is an artistic craft with a long tradition in the Konjic municipality The woodcarvings which include furniture sophisticated interiors and small decorative objects stand out for their recognizable handcarved motifs and overall visual identity The woodcarving is a constitutive part of the local communitys culture a measure of the beauty and amenity of home interiors and a tradition that forges a sense of community and belonging The practice not only plays a very important role at the community level in Konjic however but also countrywide and in diaspora communities It is an economically viable socially inclusive and ecologically sustainable craft practised by different ethnic and confessional groups which serves as an instrument of dialogue and cooperation The craft is widespread among Konjic inhabitants both as an occupation and as a hobby and while the main bearers are trained craftspeople who work in woodcarving workshops bearers who practise the craft at home are equally important The owners of familyrun woodcarving workshops are most responsible for safeguarding the element training apprentice woodcarvers and popularizing the craft Knowledge and skills are transmitted primarily through onthejob training of novices in the practising workshops as well as through intergenerational transmission within the family

The Dikopelo music practice involves vocal singing and dancing in a patterned choreography without musical instruments in which people from a particular area join together to sing as a choir The element is practised by men women and children but is mostly dominated by Elders who forming an informal Council of Advisors transmit their skills to the younger generation Dikopelo is a communal practice involving a shared vision of community life The element is no longer as widespread as it was in the past Though Dikopelo originated as a communal event practised on farmlands due to the decline in people engaged in farming the choirs have moved to villages where modernization makes practising it more difficult Modern entertainment practices have also reduced the number of knowledgeable practitioners capable of explaining the significance of the element However though the viability of Dikopelo is low the community and practitioners are committed to safeguarding it as illustrated by their willingness to compete with groups from other districts and efforts to revive Dikopelo as a strategy to protect young people from social ills and promote positive messages among the community

Chogān is a traditional horseriding game accompanied by music and storytelling it has a history of over 2000 years in Iran and has mostly been played in royal courts and urban fields In Chogān two rider teams compete and the aim is to pass the ball through the opposing teams goal posts using a wooden stick Chogān includes the main game a corresponding musical performance and storytelling Bearers include three primary groups the players the storytellers and the musicians Chogān is a cultural artistic and athletic element with a strong connection to the identity and history of its bearers and practitioners It has a strong presence in the literature storytelling proverbs handicrafts and ornaments that are valuable parts of the symbolism of its practitioners As an element that promotes the health of the body and soul Chogān also establishes a connection between nature humankind and horses Traditionally transmission has occurred informally within the family or in workshops and Chogān techniques continue to be actively safeguarded by families and local practitioners However over the last decades Chogān associations have also been established which hold training courses support local masters and provide assistance in transmitting all aspects of Chogān while safeguarding local diversity

The Spring Celebration Hidrellez takes place annually on 6 May which is recognized as Spring Day or the awakening of nature Hidrellez is a compound noun derived from Hidir and Ilyas which are believed to be the protectors of earth and water and the helpers of individuals families and communities in need of them To mark this occasion various ceremonies and rituals connected with nature are performed guaranteeing the wellbeing fertility and prosperity of the family and community and protecting livestock and crops for the upcoming year The element belongs to all participants families children youth adults dancers and singers The rituals have deeprooted cultural meanings and provide the community with a sense of belonging and cultural identity and an opportunity to strengthen relations The communities concerned ensure the viability of the element by participating in the Spring Celebration on an annual basis The complex organization of related events at the local regional and national levels ensures the wide participation of individuals groups and communities The element is recognized as a key part of the cultural identity of the local communities and related knowledge and skills are transmitted within the family and between community members through oral communication observation participation and performances

Organ craftsmanship and music has shaped Germanys musical landscape and instrumentmaking for centuries and there are a diverse number of related traditions in the country Organ craftsmanship and music are closely related since each instrument is created specifically for the architectural space in which it will be played The highly specialized knowledge and skills related to the practice have been developed by craftspeople composers and musicians working together throughout history and the specialized and mostly informallytransmitted knowledge and skills are significant markers of group identity Transcultural by its very nature organ music is a universal language that fosters interreligious understanding Though mostly associated with church services concerts and modern cultural events it is also played during important communitybuilding festivities There are 400 mediumsized craftspeoples establishments in Germany which guarantee its viability and transmission as well as some larger familyowned workshops Knowledge and skills related to the element are transmitted through a direct teacherpupil experience which is complemented by training in vocational schools and universities Apprentices gain practical experience in organ construction workshops as well as theoretical knowledge in vocational schools and efforts to safeguard the element also include teaching in universities and music academies conferences and presentations via the media

Doortodoor rounds of Kurenti is a Shrovetide custom practised from Candlemas 2 February to Ash Wednesday Kurenti practise their rounds through villages and nowadays also through the town of Ptuj Groups consisting of Kurenti and one or more devils run from house to house form a circle in the yard and jump around the owners According to their beliefs the noisy bellringing and brandishing of the wooden stick chase everything evil away and bring happiness to those they visit Men women and children are actively involved in all activities associated with the custom Kurenti normally form groups and some establish associations One important bearer is the Federation of Kurenti Associations which acts as the umbrella organization The practice helps strengthen interpersonal bonds and is key to the regional identity of the communities concerned Kindergartens and elementary schools assist in the safeguarding process and some formal education courses and informal workshops help maintain respect for the practice Related knowledge and skills are most commonly transmitted within the family but youngsters also learn from elderly members of the groups they are part of and schools and museums play an important role by organizing activities workshops and contests

The Craftsmanship of Estremoz Clay Figures involves a production process lasting several days the elements of the figures are assembled before being fired in an electric oven and then painted by the artisan and covered with a colourless varnish The clay figures are dressed in the regional attires of Alentejo or the clothing of religious Christian iconography and follow specific themes The production of clay figures in Estremoz dates back to the seventeenth century and the very characteristic aesthetic features of the figures make them immediately identifiable The craft is strongly attached to the Alentejo region since the vast majority of the figures depict natural elements local trades and events popular traditions and devotions The viability and recognition of the craft are ensured through nonformal education workshops and pedagogical initiatives by the artisans as well as by the Centre for the Appreciation and Safeguarding of the Estremoz Clay Figure Fairs are organized at the local national and international levels Knowledge and skills are transmitted both in family workshops and professional contexts and artisans teach the basics of their craft through nonformal training initiatives Artisans are actively involved in awarenessraising activities organized in schools museums fairs and other events

The craft of the miller operating windmills and watermills involves the knowledge and skills necessary to operate a mill and maintain it in a good state of repair With a declining number of people earning their livelihood from the craft millers today also play a key role in transmitting the cultural history of the practice There are currently approximately forty professional millers together with volunteers they keep the millers craft alive The Guild of Volunteer Millers has around 105 instructors in the field and 11 Master Millers are now active in the Netherlands Mills and therefore the millers craft play a significant social and cultural role in Dutch society and have an iconic value contributing to a sense of identity and continuity Various safeguarding activities are undertaken including training support and capacity building educational activities in schools and traineeships Traditionally the millers craft was transmitted from master to apprentice but since the establishment of the Guild of Volunteer Millers in 1972 almost 2000 volunteers have obtained a millers qualification anyone interested in the craft can apply for training The Guild offers millers support in keeping their knowledge uptodate for example through excursions to mills evening theory classes conferences and meetings

The Multipart Singing of Horehronie is characterized by a variable solo melody of presinging and more static choir answers either by men or women The singing culminates in intertwined parallel melodies with rich variations consisting of two or three parts each section presents a variation of the initial melodic formula The song genres are associated with agricultural work the family cycle and calendric events and new songs arise in response to social events affecting peoples lives The bearers and practitioners are the inhabitants of the villages in question as well as the broader public The folk multipart singing is perceived as a characteristic local phenomenon which provides an opportunity for relaxing and socializing as a group contributes to overall social cohesion and gives people a sense of pride in their local tradition Bearers endorse the element by practising it and using it in regular crossgenerational exchanges and its viability is manifested through spontaneous singing during celebrations and ceremonies church performances local festivals and singing and dancing workshops The practice is transmitted from generation to generation mainly in family circles as well as through informal education and thanks to the efforts of local folklore groups local municipalities and individual singers

Al Azi is a traditional poetry recital performed by a group of individuals without rhythmical or musical instruments It consists of a fullrhymed poem based on traditional poetry and the lines of poetry are sometimes interposed with sayings and proverbs Bearers and practitioners include the poet performer chorus and audience The practice strengthens bonds and is connected with knowledge and practices related to nature Al Azi was performed regularly by communities until the mid1900s when performances began to dwindle gradually Due to development thousands of inhabitants moved from the desert to urban areas and the economic boom from 1970 to 1990 led to citizens abandoning employment in traditional sectors and the culture and arts associated with such activities Another factor has been the enactment of State laws instead of traditional tribal customs The number of poets has decreased greatly over the past twenty years Despite these challenges Al Azi has withstood extinction thanks to the efforts of a number of creative people and traditional art troupes The practice enjoyed a revival several years ago when it was introduced into national events with a highly successful theatrical production and media coverage has helped revive Al Azi encouraging more poets to compose Al Azi poems

Kolo is a traditional collective folk dance performed by dancers who are interlinked to form a chain usually moving in a circular line holding hands with their arms down It is performed to the accompaniment of music at private and public gatherings and involves all members of the local community Culturalartistic societies and folk dance troupes are also important bearers and practitioners of the element Kolo has an important integrative social function fostering collective identities at different levels in the communities It is a symbol of national identity and bears the hallmark of local and regional communal identities Performances during celebrations of the most important events in individuals and communities lives make this element very present and sustainable at all levels Bearers and local communities ensure its visibility by organizing local regional and national fairs festivals and competitions and the sustainability of the practice is also ensured by cultural and artistic societies Learning through direct participation is the most common way of transmitting the skills and skilled dancers motivate other players awakening in them a desire to learn and improve their own performance Knowledge is also acquired through the regular education system and in ballet and music schools

The artisanal process of obtaining the plant fibres for weaving talcos crinejas and pintas used to make pintao hats is a manual process carried out using five plants and swamp mud Artisans weave braids and create talco weaves with different designs and pintas Participants either plant process the raw materials weave or create the braids used to make the hat The pintao hat has become an integral part of regional outfits throughout the country worn during traditional dances and community festivities The practice promotes solidarity as artisans and plant suppliers are encouraged to form cooperatives and groups As part of efforts to safeguard the craft the Pintao Hat Museum in the La Pintada District recreates the artisans processes and environment and displays hats from different periods There is a Civic and Memorial Day of the Pintao Hat on 19 October and the General Directorate of Artisanship holds artisanal markets and fairs to promote artisanal products The processes and techniques are passed down from generation to generation and weaving contests encourage artisans to perfect their art Currently more than 400 artisans working with the traditional techniques have been identified artisans make a living from their craft and are proud of their creations

The Kushtdepdi rite of singing and dancing is a performing art involving creative poeticizing focused on good feelings and wishes It involves singing with vocal improvisation and dancing with movements of the hands gestures and footsteps in accordance with the tune of the song The rite serves as a tool for conveying good wishes and is an inseparable part of ceremonies and national celebrations The bearers and practitioners are the master singers and dancers experienced in the art and able to pass on the vocal techniques and the skills of the dance The element serves as a bridge between generations based on shared spiritual and cultural values The bearers and practitioners are actively involved in safeguarding the element and community members ensure the viability of the element through performances at ceremonies and social gatherings that foster social cohesion and mutual understanding Community members also partake in compiling introductory teaching resources on the practice and regular field expeditions are organized to gather information about it Knowledge and skills relating to the practice are traditionally transmitted from master singers to amateurs through informal oral learning and practical training but specialized music schools and cultural centres also help amateurs develop their skills through formal training

As a performing art Xoan singing of Pho Tho province includes singing dancing drumming and clapper beating It is closely linked to the worship of the Hung Kings a belief rooted in the ancestor worship practice of the Viet people Bearers and practitioners form four guilds in which the male and female Trum play the most important role they preserve the songs select students transmit the singing styles and repertoires and organize practices They are also active in introducing and teaching Xoan singing at the four Xoan guilds and in clubs and guilds As a community performing art Xoan singing fosters cultural understanding community cohesion and mutual respect The Vietnamese Institute for Musicology has collected 31 Xoan songs and thanks to the efforts of several Xoan artists four guilds have been established 33 dedicated clubs also exist and seminars are held to expand knowledge of Xoan Leaders and senior Xoan artists transmit the singing orally combined with the use of written songs and audio and visual recordings Experienced artists also teach Xoan singing to members of clubs and to music teachers in schools who then transmit this knowledge to other club members and students

AlQatt AlAsiri a traditionally female interior wall decoration is an ancient art form considered as a key element of the identity of the region of Asir It is a spontaneous art technique carried out largely by women today in the community that involves decorating the interior walls of their houses specifically rooms for visiting guests Women invite female relatives of various age groups to help them in their homes thereby transmitting this knowledge from generation to generation The base is usually white gypsum and the patterns consist of icons of geometric shapes and symbols In the past only women practised the element but nowadays male and female artists designers interior designers and architects practise it including on other surfaces The art enhances social bonding and solidarity among the community and has a therapeutic effect on its practitioners The application of the art in most households ensures its viability within the community and local individuals have created galleries within their houses in order to safeguard it Observation and practice are the key methods for transmitting the practice from one generation to the next and societies NGOs and individuals all play a key role in safeguarding promoting and transmitting the related knowledge and skills

Beginning on the Monday following Ash Wednesday and lasting exactly 72 hours Basel Carnival is the largest carnival in Switzerland Two parades take place on the Monday and Wednesday bringing together 11000 costumed carnivalists in parades of fife and drum cliques floats and carriages Tuesday is dedicated to children with concerts and lantern exhibitions while other events also punctuate the festival The carnival can be compared to a huge satirical magazine where all visual or rhetorical means are used to make fun of flaws and blunders Around 20000 people of any age social status origin and political persuasion actively participate in the festival which attracts around 200000 Swiss and foreign visitors The bearers and practitioners form associations of different types composed equally of men and women The carnival contributes to social cohesion promotes tolerance through social criticism and helps safeguard the local dialect Transmission occurs informally in families taking part for several generations The cliques also play an important role in this regard with several having a section dedicated to encouraging the next generation Several precarnival events are also organized allowing for transmission beyond the carnival The carnival has been successfully safeguarded over past decades thanks to measures taken by the communities as well as the authorities constant support

Uilleann piping is a musical practice which uses a particular type of bagpipe known as the uilleann Irish or union pipes to play Irish music It is a highly developed instrument with strong roots in tradition dating back many generations Bearers and practitioners are dispersed throughout the world but the greatest concentration is in Ireland and Irish communities abroad Uilleann piping offers an important way of socializing and plays an integral role in life events such as marriages and funerals where it provides a sense of rootedness and a connection to the past The most highly valued method of transmission is the practice of onetoone mastertostudent instruction but transmission also occurs through more modern methods such as video and DVD tutorials and the internet The most prominent group involved in safeguarding Uilleann piping is Na Píobairí Uilleann NPU which was founded in 1968 by pipers with a mission to stop the decline of the instrument Through a programme of research publications tuition and training the NPU has contributed to a huge increase in the use and appreciation of the instrument and its music resulting in a flowering of the art in modern times with more players than in any previous period

The art of Bài Chòi in Central Viet Nam is a diverse art combining music poetry acting painting and literature It takes two main forms Bài Chòi games and Bài Chòi performance Bài Chòi games involve a card game played in bamboo huts during the Lunar New Year In Bai Choi performances male and female Hieu artists perform on a rattan mat either moving from place to place or in private occasions for families The bearers and practitioners of the art of Bài Chòi are Hieu artists solo Bài Chòi performers cardmaking folk artists and hutmaking folk artists The art of Bài Chòi is an important form of culture and recreation within village communities Performers and their families play a major role in safeguarding the practice by teaching song repertoires singing skills performance techniques and cardmaking methods to younger generations Together with communities these performers have set up nearly 90 Bài Chòi teams groups and clubs to practise and transmit the art form which attracts wide community participation Most performers of the art learn their skills within the family and the skills are mainly transmitted orally but artists specializing in Bài Chòi also transmit knowledge and skills in clubs schools and associations

The history of ikat atlas and adrasmaking technologies in the territory of modernday Uzbekistan dates back to the Late Antique Period Historically Margilan was the centre for making atlas and adras vivid and fine traditional fabrics Traditional crafts went through turbulent times during the Soviet period jeopardizing some ancient handmade production technologies Due to the acute need to revive and safeguard traditions at risk of disappearing the local community came up with an initiative to launch the Crafts Development Centre CDC in 2007 The CDCs goal is to safeguard develop and promote the method of Uzbek traditional atlas and adras making through innovative training sessions exhibitions and craft fairs traditional textile festivals and the publication of safeguarding materials and manuals The CDC also promotes the use of natural materials and supports the transmission of knowledge and skills about nature and the universe and their role in ensuring peoples health and wellbeing The CDCs success stems from its focus on a spirit of partnership and the local communities play a key role in its initiatives since there is a common understanding that atlas and adras fabrics are central to their identity

Zaouli is a popular music and dance practised by the Guro communities of the Bouaflé and Zuénoula departments of Côte dIvoire A homage to feminine beauty Zaouli is inspired by two masks the Blou and the Djela Its other name Djela lou Zaouli means Zaouli the daughter of Djela In a single event the practice brings together sculpture the mask weaving the costume music the band and song and dance There are seven types of Zaouli masks each translating a specific legend The bearers and practitioners include sculptors craftspeople instrumentalists singers dancers and the notables the guarantors of the communitys customs and traditions Zaouli plays an educational playful and aesthetic role contributes to environmental preservation conveys the cultural identity of its bearers and promotes integration and social cohesion Transmission occurs during musical performances and learning sessions when amateurs learn under the supervision of experienced practitioners The viability of Zaouli is ensured through popular performances organized two or three times a week by the communities The traditional chiefdom the guarantor of traditions also plays a key role in the transmission process and intervillage dance competitions and festivals offer further opportunities for revitalization Research and documentation activities are also underway

Taskiwin is a martial dance specific to the western High Atlas mountain range in Central Morocco The dance gets its name from the richly decorated horn each dancer carries the Tiskt and involves the art of shaking ones shoulders to the rhythm of tambourines and flutes The practice fosters social cohesion and harmony and provides a key means of socialization for young people Transmission to young generations mainly occurs informally through direct learning Due to several factors however the dance is now limited to a small number of villages and is at risk of disappearing Globalization has driven it closer to oblivion as reflected by young peoples increasing disdain for traditional heritage in favour of modern artistic practices The dance is no longer practised by several communities and the remaining enthusiasts and bearers cannot find aspirants to whom they can transmit their knowhow Craftsmanship relating to the instruments and accessories is also in decline Nonetheless the last two decades have seen an increased collective awareness of the need to ensure the viability of Taskiwin among some communities To this end the first dedicated association in the region was created in 1993 an initiative followed by several other villages and several local associations are now being created

Sega Tambour of Rodrigues Island is a vibrant rhythmic performance of music song and dance with its origins in slave communities The leading percussion the tambour is banged energetically while a triyang is hit from the side and the bwat and mayos are clapped Sega Tambour is performed all over Rodrigues Island in the home and on the streets at formal and informal functions The primary bearers are the Rodrigues community as well as the diaspora on the island of Mauritius and elsewhere and the art is open to everyone irrespective of age gender or status With its origins in defiance and resilience Sega Tambour facilitates conflict resolution fosters socialization and consolidates bonds The government recognizes it as a symbol of the history of the Rodriguan community Sega Tambour is safeguarded through the efforts of numerous groups that have sprung up since the 1970s and a dedicated NGO now exists Competitions and rehearsals are organized in community centres and the element is also performed in tourism facilities contributing to the generation of revenue for performers Knowledge and skills relating to the practice are transmitted from elders to youth through imitation and observation and instrumentmaking skills are learned through apprenticeship with experienced craftspeople

Kumbh Mela the festival of the sacred Pitcher is the largest peaceful congregation of pilgrims on earth during which participants bathe or take a dip in a sacred river Devotees believe that by bathing in the Ganges one is freed from sins liberating herhim from the cycle of birth and death Millions of people reach the place without any invitation The congregation includes ascetics saints sadhus aspirantskalpavasis and visitors The festival is held at Allahabad Haridwar Ujjain and Nasik every four years by rotation and is attended by millions of people irrespective of caste creed or gender Its primary bearers however belong to akhadas and ashrams religious organizations or are individuals living on alms Kumbh Mela plays a central spiritual role in the country exerting a mesmeric influence on ordinary Indians The event encapsulates the science of astronomy astrology spirituality ritualistic traditions and social and cultural customs and practices making it extremely rich in knowledge As it is held in four different cities in India it involves different social and cultural activities making this a culturally diverse festival Knowledge and skills related to the tradition are transmitted through ancient religious manuscripts oral traditions historical travelogues and texts produced by eminent historians However the teacherstudent relationship of the sadhus in the ashrams and akhadas remains the most important method of imparting and safeguarding knowledge and skills relating to Kumbh Mela

Pinisi or the Art of Boatbuilding in South Sulawesi refers to the rig and sail of the famed Sulawesi schooner The construction and deployment of such vessels stand in the millennialong tradition of Austronesian boatbuilding and navigation that has brought forth a broad variety of sophisticated watercrafts For both the Indonesian and the international public Pinisi has become the epitome of the Archipelagos indigenous sailing craft Today the centres of boatbuilding are located at Tana Beru Bira and Batu Licin where about 70 per cent of the population make a living through work related to boatbuilding and navigation Shipbuilding and sailing are not only the communities economic mainstay however but also the central focus of daily life and identity The reciprocal cooperation between the communities of shipwrights and their relations with their customers strengthen mutual understanding between the parties involved Knowledge and skills related to the element are passed down from generation to generation within the family circle as well as to individuals outside of the family through the division of labour The communities groups and individuals concerned are actively involved in safeguarding efforts for example through marketing initiatives and the publication of books on the subject

During the ritual journeys in La Paz during Alasita which begin on 24 January and last two or three weeks participants procure good luck miniatures associated with Ekeko the citys beneficent god of fertility The activities begin with the search for and acquisition of the miniatures followed by their consecration with the different Andean ritualists or their blessing by the Catholic Church The miniatures acquire a new meaning since the individuals have vested them with faith allowing their wishes to come true People also exchange the miniatures to symbolically pay debts The bearers and practitioners include a broad community of stakeholders and inhabitants of the city participate irrespective of their social status The practice promotes social cohesion and intergenerational transmission and improves intrafamily relationships The importance granted to donations and the payment of debts even if symbolic also lowers tensions between individuals and even social classes Alasita rituals are primarily transmitted naturally within families with children accompanying their parents during the journey Efforts to safeguard Alasita have been continuous and depend mainly on civil society Conservatories and museum exhibitions have raised awareness about certain Alasita themes and municipal contests are organized to encourage the craft production of the miniatures and develop creativity enjoying an everincreasing number of participants

Dolma tradition is a set of knowledge and skills relating to the preparation of the traditional meal dolma which takes the form of small fillings containing meat onion rice peas and spices wrapped in fresh or precooked leaves or stuffed in fruits and vegetables The name of the tradition originates from the shortened Turkic word doldurma meaning stuffed The meal is shared within families or local communities with different methods techniques and ingredients used to prepare the traditional meal by different communities The tradition is present throughout the Republic of Azerbaijan and is perceived as a central culinary practice in all regions It is enjoyed on special occasions and gatherings and expresses solidarity respect and hospitality It is transmitted from generation to generation and transcends ethnic and religious boundaries within the country Bearers consist of traditional cooking practitioners mostly women and the wider community of people that use dolma for various cultural and social purposes The tradition is transmitted through parentchild relationships while formal transmission mainly occurs in vocational and apprenticeship schools The element enjoys great visibility within Azerbaijani society and its viability is ensured by the communities through numerous awarenessraising activities and events such as festivals vocational schools that teach the tradition and the preparation of publications on the subject

Shital Pati is the traditional art of making a handcrafted mat by weaving together strips of a green cane known as Murta The mat is used by people all over Bangladesh as a sitting mat bedspread or prayer mat The main bearers and practitioners are weavers living mostly in the lowlying villages in the greater Sylhet region of Bangladesh but there are also pockets of Shital Pati weavers in other areas of the country Both men and women participate in collecting and processing Murta with women being more involved in the weaving process The craft is a major source of livelihood and a strong marker of identity primarily a familybased craft it helps to reinforce family bonding and create a harmonious social atmosphere Mastery of the technique commands social prestige and the practice empowers underprivileged communities including women The government promotes awareness of the element through local and national craft fairs and Shital Pati communities are increasingly being organized into cooperatives to ensure the efficient safeguarding and transmission of the craft and guarantee its profitability Safeguarding efforts involve the direct participation of the communities concerned and the practice is primarily transmitted from generation to generation within the families of craftspeople