In Cambodian society, the Khmer New Year Festival combines different forms of religious rituals and practices. The rituals are usually performed at three different locations: at a Buddhist pagoda, at an ancestral stupa, and at home. The New Year celebration is a symbol reuniting the Cambodian people, ancestral spirits, and gods, and, most importantly, it is an expression of happiness in society. The New Year festival itself embraces many forms of intangible cultural heritage that are rarely seen on other occasions.

In Cambodian society, the Khmer New Year Festival combines different forms of religious rituals and practices. The rituals are usually performed at three different locations: at a Buddhist pagoda, at an ancestral stupa, and at home. The New Year celebration is a symbol reuniting the Cambodian people, ancestral spirits, and gods, and, most importantly, it is an expression of happiness in society. The New Year festival itself embraces many forms of intangible cultural heritage that are rarely seen on other occasions.

Along the southern coast of Java, in places like Pareng Kusuma, Pelabuhan Ratu and Cilacap, some people still believe in Ratu Kidul and make offerings on special occasions. At least three times a year, large crowds converge at Pareng Kusuma to witness the larung ceremony in which three palanquins containing offerings including batik cloth worn by the Sultan are taken to the ocean in ceremonial procession and submerged. Annually on the eve of the Javanese New Year (called Sura) thousands gather on Pareng Kusuma beach, and some make flower offerings. On the anniversary of the King’s ascension to the throne, the sacred Bedoyo Ketawang Dance is peformed annually before the kings in Java and symbolises the meeting of the king with anjeng Ratu Kidul, who is believed to appear and mystically guide the dancers. The goddess is depicted as an exceptionally beautiful woman dressed in greenish cloth, residing on the ocean floor with her many servants. Out of respect for the goddess, wearing green is still considered taboo for visitors to the south coast of Java. Ratu Kidul is believed to be a spiritual being who provides guidance to leaders, while her servants may also inflict punishments in the form of natural disasters if leaders neglect to perform noble actions for the benefit and welfare of the people.

Along the southern coast of Java, in places like Pareng Kusuma, Pelabuhan Ratu and Cilacap, some people still believe in Ratu Kidul and make offerings on special occasions. At least three times a year, large crowds converge at Pareng Kusuma to witness the larung ceremony in which three palanquins containing offerings including batik cloth worn by the Sultan are taken to the ocean in ceremonial procession and submerged. Annually on the eve of the Javanese New Year (called Sura) thousands gather on Pareng Kusuma beach, and some make flower offerings. On the anniversary of the King’s ascension to the throne, the sacred Bedoyo Ketawang Dance is peformed annually before the kings in Java and symbolises the meeting of the king with anjeng Ratu Kidul, who is believed to appear and mystically guide the dancers. The goddess is depicted as an exceptionally beautiful woman dressed in greenish cloth, residing on the ocean floor with her many servants. Out of respect for the goddess, wearing green is still considered taboo for visitors to the south coast of Java. Ratu Kidul is believed to be a spiritual being who provides guidance to leaders, while her servants may also inflict punishments in the form of natural disasters if leaders neglect to perform noble actions for the benefit and welfare of the people.

Along the southern coast of Java, in places like Pareng Kusuma, Pelabuhan Ratu and Cilacap, some people still believe in Ratu Kidul and make offerings on special occasions. At least three times a year, large crowds converge at Pareng Kusuma to witness the larung ceremony in which three palanquins containing offerings including batik cloth worn by the Sultan are taken to the ocean in ceremonial procession and submerged. Annually on the eve of the Javanese New Year (called Sura) thousands gather on Pareng Kusuma beach, and some make flower offerings. On the anniversary of the King’s ascension to the throne, the sacred Bedoyo Ketawang Dance is peformed annually before the kings in Java and symbolises the meeting of the king with anjeng Ratu Kidul, who is believed to appear and mystically guide the dancers. The goddess is depicted as an exceptionally beautiful woman dressed in greenish cloth, residing on the ocean floor with her many servants. Out of respect for the goddess, wearing green is still considered taboo for visitors to the south coast of Java. Ratu Kidul is believed to be a spiritual being who provides guidance to leaders, while her servants may also inflict punishments in the form of natural disasters if leaders neglect to perform noble actions for the benefit and welfare of the people.

Munmyo is a Confucian shrine in which various spiritual-tablets of past Confucian scholars rest. In this shrine, a total of thirty nine spiritual-tablets are enshrined that belong to Confucius, four disciples, sixteen Chinese Confucian scholars, and eighteen Korean Confucian scholars. Every February and August, according to the lunar calendar, commemorative rites are prepared and Currently, Seokjeonje is listed as No. 85 on the Important Intangible Cultural Heritage List of Korea, designated in 1986.

Rituals are shaped differently in each community, and the same ritual may differ from region to region. During Daeboreum, farmers and other community members play musical instruments, and community rituals are performed. In rice farming areas, straw collected from each family house is twisted to make a rope for Daeboreum juldarigi (tug-of-war), an event in which the counterparties may be decided by gender or by residence. After juldarigi events are completed, the rope is burnt or cut and taken away, or sometimes it is tied around a standing stone or dangsan (a village shrine). The way of handling the rope is as varied as the regional customs involved with juldarigi.

In mid-April every year, Sri Lankans celebrate the Sinhala and Hindu New Year with distinctive rituals that fuse Hindu and Buddhist elements. With the introduction of Buddhism in the third century BCE, traditional Hindu New Year rituals were reinterpreted. While historians and sociologists believe these rituals were closely related to sun worship because they coincided with ancient myths about the sun moving from one celestial house to another the major rituals today embody a sense of cultural heredity and tradition.

In mid-April every year, Sri Lankans celebrate the Sinhala and Hindu New Year with distinctive rituals that fuse Hindu and Buddhist elements. With the introduction of Buddhism in the third century BCE, traditional Hindu New Year rituals were reinterpreted. While historians and sociologists believe these rituals were closely related to sun worship because they coincided with ancient myths about the sun moving from one celestial house to another the major rituals today embody a sense of cultural heredity and tradition.

In mid-April every year, Sri Lankans celebrate the Sinhala and Hindu New Year with distinctive rituals that fuse Hindu and Buddhist elements. With the introduction of Buddhism in the third century BCE, traditional Hindu New Year rituals were reinterpreted. While historians and sociologists believe these rituals were closely related to sun worship because they coincided with ancient myths about the sun moving from one celestial house to another the major rituals today embody a sense of cultural heredity and tradition.

Novruz, Nowrouz, Nooruz, Navruz, Nauroz, Nevruz is celebrated on 21st of March, which is considered as New Year holiday and the beginning of Spring. There are various ceremonies, rituals, and cultural events held within every family and community. Values of peace and solidarity, reconciliation and neighbourhood, cultural diversity and tolerance, healthy life-style and renewal of living environment are promoted and transmitted from generation to generation during this cultural event. Women play a major role in the cultural event, by managing the ceremonies and disseminating the traditional knowledge to the youth. It is a part of and strengthens the cultural identity of the states parties involved expressions.