Tshar-zo, the age-old tradition of working with bamboo and cane is a popular art, spread and practiced throughout Bhutan. The availability of numerous species of bamboo and cane has enabled the Bhutanese to master the skill of weaving these raw materials into a variety of articles for various uses. Throughout Bhutan, the use of bamboo and cane products has always complemented the use of wooden items, forming an integral part of the lifestyle and economy of the people. Bhutanese farmers weave a variety of functional bamboo and cane articles used for a variety of domestic, agricultural and commercial purposes. Bamboo (Neomicrocalamus andropogonifolius), is locally named Ringshu in Dzongkha and as Yula in Khengkha. Cane (Calamus acanthospathus) is locally known as Munzi in Sharchopkha, and as krath or gren in Khengkha. These are the two common species used in the production of a variety of articles. Bamboo and cane strips are used in their natural colour or dyed into yellow, black, red, green, maroon and brown, to weave colourful articles with geometric designs.

Disclaimer : ‘Traditional Knowledge for Mangrove Honey Collection’ is not an element officially designated by the government of Bangladesh and thus tentatively named by ichLinks secretariat to introduce the cultural expression with the name indicated above. We welcome your valuable comments and feedback about 'Traditional Knowledge for Mangrove Honey Collection' and its information presented on this page. Forest honey collection in the Sundarbans is unique to its geographical area. Mawalis, the honey collectors traditionally depend on the honey and wax that they get from the world’s largest mangrove forest for their livelihood. Honey collection starts in the Sundarbans between March and May. Khalisa honey is bountiful around this time. After khalisa come gewa, bain, and kewra honey. Flowers of Sundarban bushes blossom during the month of Baishak, April, while those of bain trees blossom in May and June. The fruits of the gol tree fall off in June and July. Forest bees play an important role in the natural pollination of these plants and trees, particularly at the middle and top layers of the Sundarbans, where all kinds of trees and flowers live together. Bees live on pollen and honey while birds live on bees. But the birds also prevail in these two forest layers. The birds themselves are food for snakes and tigers, making a critical food cycle in the area and balancing the vertical forest ecosystems of the mangroves. Meanwhile, women hold rituals and follow special rules when men go out to collect honey in the forest. During this time, the women neither stay too far from their home nor use oil and soap on their hair and body. They also do not burn peppers in the furnace, nor do they squeeze water from the bath towels. They cook food early in the morning and in the evening. They never make a fire in the furnace at noon, as they believe that lighting a fire at noon could harm both the forest and the beehives. When they collect honey, the Mawalis do not quarrel with others, lie, or misbehave with others. The men also do the same. They obey sajuni, the chief, no matter what happens. When the collection begins, they first see how bees move and track their path. They anchor their boats to the bank of the river and go deep into the forest to search for beehives. Once they find a beehive, they make a karu, a broom-like bouquet, to make smoke and drive bees out of the hive. They also cover their mouths with cloths to protect themselves from bee stings. Then they cut a part of the hive to extract honey but leave the other part, where the bees and their larvae stay untouched. After the collection is done, they put out the fire on the karu. The honey collected here is kept in different cane baskets. Lastly, they keep the honey in a flat pot, designed to keep off moisture and prevent honey from thickening.

Local tradition maintains that Pema Lingpa was looking around Choekhor valley to find a suitable site for his temple when he saw a wild boar digging in the soil. He realized that it was a sign from the enlightened being Dorje Phagmo (deity Vajravarahi) meant to show him the appropriate site. Once the temple was built, during its consecration he instituted a festival dedicated to the guardian deities as a symbol of gratitude. Since the prophecy as well as the ground breaking for Tamzhing temple is believed to have been guided by Dorje Phagmo, the festival is dedicated to her and named Phagla Chodpa. Sherab Wangdi remembers that before the Lhalung Dratshang community arrived at Tamzhing, there were two different grand festivals at the temple, a drub held in the seventh lunar month and Phagla Chodpa in the eighth lunar month. The monthly rituals, the drub, and the mask dances were organized and performed by the Tamzhing drapa (Lay-monks), while the Phagla Chodpa had been coordinated by the late Lama Phuntsho, who traveled from Trongsa Samchoeling. Before Lama Phuntsho would arrive, the Tamzhing threlpa would construct a temporary residence above the temple. Each morning during the Phagla Chodpa, the mask dancers (champa) and female dancers (maniwa) received the lama in a chibdrel procession that moved toward the temple. Oral tradition maintains that ever since the Tamzhing Phagla Chodpa was founded, the mask dances have been performed by the Tamzhing drapas, while the threlpas have sponsored all the food and drinks from the rehearsal day until the last day of the festival. Initially, the Phagla Chodpa lasted only two days, excluding the mewang and chamjug. After Lama Phuntsho passed away, the Phagla Chodpa was not performed for nearly seven years (from 1972–1978) due to misunderstandings between the Tamzhing Choeje and the drapas. The drapas settled in other villages for a number of years. Apparently, after some time they came to decide that the festival is an important ancestral tradition to offer gratitude to the local deities. Thus, the drapas approached the late Lyonpo Tamzhing Jagar—then the Minister of Home and Culture—and made a collective pledge to revive the Phagla Chodpa. The minister appreciated their volunteerism and provided new costumes and some masks for the dances. Performances resumed in 1979, this time incorporating some mask dances performed by the Lhalung monastic community. The addition of Lhalung’s mask dances had the effect of extending the two-day-long festival to three days. Tradition maintains that Tamzhing Choeje has been coordinating Phagla Chodpa and sponsoring one meal during the first day of the festival, while the Tamzhing drapa shouldered responsibility of contributing mask dances, folk dances, and a collectively sponsored meal for the duration of the festival. If the tradition is correct, there has not been a significant change in organizing the Chodpa. In the recent past, at the urging of Sherab Wangdi, local residents made a collective agreement that every household would participate in and contribute to the Phagla Chodpa festival – irrespective of their status as drapa, zurpa or threlpa. Every household has to contribute a man capable of performing mask dances; if a suitable man wasn’t available, a woman has to join as either a maniwa(folk dancer), or as a drangzhapa or dronchongpa (receive guests and serve tea and drink). If there is no one available to volunteer, then that particular household has to be the tsawa (sponsor) for a specific day of the festival. A tshogpa, or village representative, is appointed to ensure the festival runs smoothly. The Chiwog Tshogpa acts as the chairperson while each village provides a reliable person to act as a representative for his/her respective community. Above all, Sherab Wangdi acts on behalf of Tamzhing Choeje in the role of president and oversees all activities related to the festival. On the ninth day of the eighth month which is the chamjug day, the drapa of Tamzhing village acts as the tsawa for the entire day, sponsoring everything from the early morning zheythug (porridge) until the group dinner. The responsibility then rotates: on the inaugural day (tsukton), Tamzhing Choeje is the sponsor, Kharsum and Konchogsum sponsor on the second day (barton), Tekarzhong sponsors on the concluding day (droeton), and on the thruesol day, Rerebi village is responsible. There are additional preparations to be completed before the chamjug. Each household has to send one person to help clean and prepare for the mewang. While the preparation in the shrine is done a day before the chamjug day, the final decoration and cleaning of the surrounding takes place on the thruesol day after lunch is served. a. Day One (9th Day of the Eighth Lunar Month): Chamjug and Mewang In the morning of the ninth day of the eighth lunar month, the mask dance performers gather at the temple courtyard with their belongings, including a mattress, pillow, blankets, plates and a mug. It is a customary that during the Chodpa both female dancers and mask dancers spend the night away from their families, sleeping instead in designated parts of the temple to maintain purity. After distributing the masks, garments, and necessary implements to the respective mask dancers, the group goes to the ground below the Konchogsum Lhakhang to prepare for the mewang, or Fire Blessing. A gate is made from fresh pine tree limbs and bunches of fresh juniper branches, and dried wood and bamboo is piled on both sides. Old bamboo baskets and mats are hung on the limbs to help spread the fire. Mantras and scriptures dedicated to the fire god are also inserted into the structure as they are believed to drive away any unseen evil spirits. The chamjug and Mewang programme ends with that last bey performance, which can take place as late as midnight. According to local oral tradition, the officiants used to visit every household in the villages after the Mewang. Since that was an exhausting event for the lama, gingpa, patselpas and monks, for the last five years they have conducted a performance in the ground instead so as not to exhaust the ritual specialists and dancers by keeping residents up all night, and lastly, to allow for devotees from outside Tamzhing to participate in the Fire Blessing. b. Day Two (10th Day of the Eighth Lunar Month): Tsukton (Initial day) The mask dances for the tsukton or the 10th day of the eighth lunar month are presented in the following order: - Gadpoi Gor Cham (Mask Dance of the Old Man and Senior Atsara), performed by laymen; - Lang Cham (Mask Dance of the two Oxen), performed by monks; - Phag Cham (Maks Dance of the Hog), performed by laymen; - Ju Ging Cham (Stick Dance), performed by monks; - Dri Ging Cham (Sword Dance), performed by monks; - Peling Nga Cham (Drum Dance), performed by laymen; - Guru Tshengyed Cham (Dance of Eight Manifestations of Guru Rinpoche), performed by monks; - Zhana Nga Cham (Black Hat Dance), performed by laymen. c. Day Three (11th Day of the Eighth Lunar Month): Barton On the 11th day of the eighth lunar month, the mask dance programme takes place as follows: - Gadpoi Gor Cham (Mask Dance of the Old Man and Senior Atsara), performed by laymen; - Shazam Cham (Dance of Two Stags), performed by monks; - Shazam Cham (Dance of Four Stags), performed by laymen; - Yoeluema or Zhauli (Dance of the Evil Spirit), performed by laymen; - Ju Ging Cham (Stick Dance), performed bby laymen; - Dri Ging Cham (Sword Dance), performed by laymen; - Peling Nga Cham (Drum Dance), performed by monks; - Zhana Phur Cham (Vajrakila Black Hat Dance), performed by laymen; - Durdhag Cham (Dance of the Charnel Grounds), performed by laymen; - Shinje Cham (Mask Dance of Yama) performed by monks; - Tshangpai Ging Cham (Peling Tshangpai Ging), performed by laymen. d. Day Four (12th Day of the Eighth Lunar Month): Droeton On the 12th day of the eighth lunar month, the mask dances are conducted as follows: - Gadpo Gorcham (Dance of the Old man and Senior Atsara), perforemd by laymen; - Throzam Cham, performed by monks; - Shinje (Dance of Yama), performed by laymen; - Durdhag (Dance of the Charnel Grounds), performed by monks; - Tangra Serkyem (Black Hat Dance Offering Serkyem to the Deities), performed by monks; - Sangye Lingpai Nga Cham (Drum Dance of Terton Sangye Lingpa), performed by laymen; - Chendren Ngama (Reception Dance), performed by monks; - Nodjin Tseumar (Processiona and Blessings from the Guardian Deity Teumar), conducted by monks; - Tenwang (Procession and Blessings) from the Buddha Amitayus image crafted by Pema Lingpa; - Pholey Moley (Dance of the Handsome Men and Charming Ladies), performed by laymen. e. Thruesol (13th Day of the Eighth Lunar Month): Informal Gathering On the 13th day of the eighth lunar month, the mask dances take place as follows: - Lhabsang and cleanup (Cleansing ritual) - Thruesol (spiritual sprinkling of water)

Tea culture is an essential part of social and cultural life and is an important social practice aiming to show hospitality, celebrate important moments in lives of communities and helping them to build and maintain social relationships and enjoy moments by drinking tea for social exchange and interaction. It also represents knowledge, traditions and skills linked to cultivating, preparing and drinking tea by communities in Turkey and Azerbaijan. Tea is an agricultural plant the leaves and buds of which are used to make beverage. Tea plant transforms into dried leaves after steps such as plucking, withering, disruption, oxidation and drying. Although there are different types and brewing techniques in both countries, communities harvest and consume mostly the black tea. Traditional techniques used in preparing and harvesting tea led to development of special tools and vessels such as teapots, samovars, silver tray, woven tea baskets and tea plucking shear. Communities brew tea by using a great variety of kettles, produced in traditional craftsmanship, called “çaydan” or “çaynik” in Azerbaijan, a double container called "çaydanlık" (tea pot) in Turkey and samovar in both countries. Water is boiled in the larger pot and tea leaves are added to the smallest pot. Samovar is a traditional copper, clay, metal or brass container used to heat and boil water for brewing tea in smaller teapot, which is put on samovar. This method allows people to drink tea as they desire: strong or light. In rural areas especially, communities use metal samovars or “çaydanlık” heated with wood. Tea is traditionally served in special pear-shaped cups called “armudu” (literally, “pear-like”), made from glass, porcelain, faience, and silver in Azerbaijan and similarly small tulip-shaped glass, which is called “ince belli bardak” (thin waist glass) in Turkey. Communities traditionally serve tea freshly, brewed and hot, accompanied with various sweets, pastry, sugar, slices of lemon, jams and dried fruits. In different regions of Azerbaijan, communities also add local spices and herbs to tea, such as cinnamon, ginger and thyme. There is a special style of drinking tea with sugar called “kıtlama” or “dishleme” in both countries. In this style, tea is drunk by placing a piece of sugar between tongue and chin instead of pouring sugar directly into glass.

Azerbaijan,Turkey 2022

Ratten or Phdao is a vine with a strong trunk, and thorns on the bark, stems, and leaves. There are many types of rattan, water rattan, Krek rattan, Chveang rattan, Arex rattan, Dambong rattan, Preah rattan…etc. Whereas Liana is also a type of vine like rattan, but the stem is smaller. Both types of plants grow in the wild and can be used for many purposes such as to make a string or Knouch, or they can also be used as a weaving material. In addition, rattan can be made into various furniture such as tables, cabinets, chairs, sofas, and so on. Liana can be used to weave tables, chairs, sofas, chairs, rugs, baskets, and other home decor items. Although some rattan and liana production time is done over a long period of time like bamboo weaving, the method of using rattan and liana as materials are not as difficult as bamboo, as there is no need to split and paste them into small pieces, just cut from the forest and you can use it as you wish. Rattan and liana accessories are still popular among Cambodians because they are lighter, more durable, and cheaper compared to wooden objects. Making traditional rattan and liana products is a lucrative job in addition to farming. But some take it as the main business as well.

One of the traditional dances of Timor-Leste is Tebe Otas Uluk, practiced by the both gender men and women of all ages in Fatu-Mea administrative post, municipality of Covalima. Commonly, this traditional dance is used in traditional ceremonies such as the ceremonies made during the sacred house constructions, religious ceremonies, national days’ celebration and other regional and national ceremonies out of Fatumea. The dance is being accompanying by a song which is composed of three phrases: Loro Matan Mesak Leok Lemorai (The Sun Alone Shining Everywhere); Hali Leon Tolu Leon Covalima (Three focus tree “Ficus benjamina” and five baskets); Hali Odamatan Tahan Ole Olen (literally, Ficus Tree in the door with soft leaf). These phrases are as the expression of respect gratitude to the Lord almighty, creator of everything, acknowledgment of their ancestors and the hope of having a good leader with good character of leadership which can lead his people to a good living full of blessing of peace and prosperity

The Kalbelias are an itinerant community who ascribe their origin to Guru Kanni Pavji (one of the masters of the mystical Nath Sect) who granted them the gift of handling snakes. In traditional rural society, Kalbelia men would carry cobras in cane baskets from door to door in the village while their women would sing and dance and beg for alms. In so doing, they passed on mythological stories that revered the cobra and advocated non-killing of the reptile. So, if a snake inadvertently entered a home, then a Kalbelia would be hastily summoned to catch and take the serpent away through non-violent means, such as music, without killing it. Kalbelias have traditionally been a fringe group existing at the periphery of the mainstream society. Largely, the Kalbelias live in spaces outside the village where they reside in makeshift camps called 'deras.' With their belongings on the back of donkeys, and with a few hunting dogs of the 'Lohari' breed, the Kalbelias used to move their 'deras' from one place to another in a circuitous route repeated over time. With the experience and received wisdom of generations, the Kalbelias have acquired a unique understanding of the local flora and fauna, and are aware of herbal remedies for various diseases. This is also an alternative source of income for them. With the Wildlife Act in place, the Kalbelias have moved away from their traditional profession of snake handling. Now, their performing arts are a major source of income for them. Fortunately, their art forms have received widespread recognition within and outside India, and their economic status has improved. However, performance opportunities are sporadic and the whole community is not involved in it on regular basis. Hence, many members of the community work in the fields, or graze cattle to sustain themselves. Nonetheless the entire community is today known for its performing art tradition. The Kalbelias have a great tradition of song and dance which is a strong marker of their identity. Women sing and dance while the men play on musical instruments. The music and dance of the Kalbelia have a distinct relation to their earlier profession as snake charmers. The Poongi is the traditional wind instrument that the Kalbelia men play to a specific tune to capture snakes. Nowadays, women dancers try to replicate the rhythmic movements of a serpent’s body through their dance. Poongi, a two feet long wind instrument used by Kalbelia musicians, is unique to them. They make the 'poongi,' from locally grown gourds that impart a plaintive tonality to their music. Giving rhythm to the 'poongi' is the 'khanjari' - a percussion instrument made of wood and hide. Besides these, there are other instruments including the 'ghuralio' – similar to the harp but unique to the Kalbelias. When the Kalbelias go around the village from door to door, they sing from their wide repertoire of songs about the rites of passage in life. It is noteworthy that the highly entertaining Kalbelia songs also disseminate mythological knowledge to the people through stories. They have many traditional dances like the 'Loor', which is performed during the festival of Holi. During this joyous festival of colours, groups of Kalbelias perform in village squares and streets while playing with colours with the community. Moving from house to house, the Kalbelia men play the one-sided drum called the 'chang' or the 'daph'. Most of the 'Loor' dance songs are full of fun and gaiety. 'Matku' is yet another traditional dance performed by the Kalbelias routinely. In this dance, the dancer's upper torso is used more actively with flowing hand gestures. The men are traditionally attired in colourful ‘safas’ or turbans, white 'kurtas' and 'dhotis' (shirt and unstitched lower garment) and embroidered footwear called ‘mojdies.’ The women’s traditional costumes consist of a ‘ghaghra’ (pleated skirt) and a ‘choli’ (full-sleeved upper garment) that comes down till the knee. The ‘ghaghra’ or the pleated skirt is enlarged manifold by using eleven meters of cloth. The ‘ghaghra’ along with the upper garment called ‘jhumpher’ is richly embroidered with mirror work and embellished with silver thread. Other significant features of their make-up are the use of traditional tattoo designs and ‘kajal’ or kohl. Over a period of time, the Kalbelias have improvised on their costumes and jewellery. They have begun using new make-up techniques and have added more instruments to their music. Similarly Kalbelia jewellery has also undergone creative modification. They also use an embroidered colourful waistband called ‘patto’ decorated with small mirrors and cowry shells. There are colourful bangles, and ‘phoondi’ - tassels worn by women. This creative process of change has made the Kalbelia dance more vibrant and vigorous in its steps. The dancers have added many acrobatic features into their dance, like bending backwards to pick up a ring from the ground with their eyelids, and so on. Dancers spin in circles with swirling skirts to the beat of a percussion instrument, taking the dance to a crescendo.

India 2010

National Intangible Cultural Heritage, Republic of Korea Chaesangjang refers to the skill of making a basket of diverse geometric patterns with thinly cut and colored bamboo skins, or to an artisan with such a skill. Colored bamboo baskets were loved by women at the Royal Court and of the noble class since the ancient period. Toward the late Joseon Period (1392 – 1910), they became popular items even for commoners as necessary articles for marriage. They were chiefly used to contain clothes, accessories, sewing supplies, and precious items. The first thing to do in making a bamboo basket is to peel off the bamboo skin in even thickness. The skin thus peeled is soaked in water and then trimmed, dyed, and spliced. The edges and corners are wrapped with blue or black satin silk. The designs made on the surface of a bamboo basket are mostly letters or patterns associated with propitiousness.

Bamboo weaving is a traditional business and an extra earn income besides farming for farmers. Everyday use tools are woven from bamboo (local bamboo and Pingpong bamboo) including varieties of baskets like Chang-er, La ey, Tao, Kanhjer, Kanhche, Kanh Jreng, Jeal, Kantrok, Kongtrong Brohotk...etc. There are also bamboo fishing gear such as Chhneang, Angrut, Lop, Tru, Proul and so on. Some tools’ names are found in ancient inscriptions, for example, Residents in Banteay Meanchey Province. The word "Chhneang" is found in the K.56 inscriptions, 10th century, "Kanh" (basket) is found in the K. 353 and K. 158 inscriptions, 11th century, "Kcheang" (basket) in the K. 353 inscription, 11th century, and so on. It takes a lot of effort and time to make each tool. They first have to cut bamboo trees and cut them into pieces before thinning them into strips. Strips’ sizes or shapes are made according to the materials which needed to be made. The strips are then soaked in water for 2 to 3 days protecting them from worms called (Proy) before starting to weave as a tool. Today, although some appliances are made of plastic from the factory, all those traditional tools are still popular with Cambodians.

Craft of making baskets and other containers with branches of trees and bushes.

National Intangible Cultural Heritage, Republic of Korea Wanchojang refers to an artisan with the skill of making objects with sedge (Cyperus exaltatus, wanggol in Korean), which is an annual/biennial plant that grows in a wet rice paddy or swamp. It grows to a height of 60 – 200cm. Sedge is used to make mats, seat cushions, and baskets. According to Samguk sagi (History of the Three Kingdoms), sedge was used during the Silla Period (circa 57 BC – 935 AD). During the Goryeo Period (877 – 1394), a sedge mat was laid on the place where the deities of the State are enshrined. Sedge mats were used chiefly in royal palaces, and they were also sent to China as gifts. During the Joseon Period (1392 – 1910), sedge mats were used mostly in royal palaces or in the homes of upper class people. In foreign trade, the mats made in Korea were regarded as luxury goods. Sedge products are made either manually or with tools. Mats and cushions are made either with a coarse weaving technique with warps exposed or with a close weaving technique with warps not exposed. As for the manual weaving method, eight warps are entwined to form a “井” shape and then two wefts are woven into it to make round or octagonal cushions and baskets. Production of sedge goods once went through the doldrums, but it regained strength in the 1970s and thereafter. Up to now, sedge has been used chiefly to make mats and baskets, but it can be used to make many other objects without the need for special tools by adjusting the colors and the thickness of warps and wefts.

The origin of basketry in the Pacific can be traced back to the early European exploration that changed the islanders’ way of living. Intensive European exploration changed the attitude and economy of the indigenous people that ultimately led to the change in the nature of the artifacts made. Baskets during these early times were mainly used in trading. Basketry in the Pacific Islands share similar characteristics in one-way or another, whether it be similar designs or similarity in raw materials used. Mostly across the Pacific, coconut leaves are used to make baskets; from simple designs to complicated ones. Many Pacific Islands use reed or vines to make baskets as well, and in rare cases, from bamboo stems. Traditional baskets woven from bamboo stems can be found from a district in Fiji called Navatusila. This traditional basket shares some similar and different features in comparison to other traditional baskets across the Pacific. Navatusila, a district in the mountains inland on the main island of the archipelago, Vitilevu, is known throughout Fiji and perhaps around the world for its past that many believed was a turning point in Fiji’s Christian history. However, this event is part of history and needed not hinder the fact that Navatusila, like many Fijian traditional settlements, still practice traditional skills and knowledge that is unique to the people in expressing social and cultural identity. Nubutautau, a village in Navatusila, has a bearer of high knowledge and skills in weaving a traditional craft known as tabekasere. The knowledge and skills in weaving the tabekasere is only held in Nubutautau in all the Fiji Islands. This unique craft came to light post Cultural Mapping Program held in February 2016 by the Ministry of iTaukei Affairs, iTaukei Institute of Language and Culture. Thus, the bearer of knowledge and skills in making the itabekasere is recognized as a Living Human Treasure, as it was discovered at that time that a lone person possessed the knowledge and skills.