The China National Silk Museum (CNSM) first opened in February 1992 and reopened in September 2016. Now it has become one of the first state-level museums in China, where audiences will find 9,000 square meters of displays in a typical southern Chinese garden of 42,286 square meters near West Lake, a UNESCO World Heritage Site.

Nuosu, a subgroup of the Yi ethnic minority residing in southwest China, has maintained a long yet continually evolving tradition of verbal dueling from generation to generation. It is called kenre in the local Yi language, which literally means “mouth movement.” The tradition has not only been recorded in historical documents, but continues as a living knowledge contest undertaken primarily for honor and identity and for enlightenment and entertainment throughout the mountainous villages in Liangshan Yi Autonomous Prefecture, Sichuan Province, thereby imbuing audiences both young and old with a sense of cultural identity and strengthening dialogue, cooperation, and respect among Nuosu communities (belonging to three sub-dialect zones) and neighboring Yi areas.

The Kasteyev State Museum of Arts in Almaty has gathered a unique collection of Kazakh jewelry made during the eighteenth through twentieth centuries. These examples vary in form, type, and technique. The distinctive features commonly found on Kazakh jewelry make them true masterpieces which reflect a specific philosophical understanding of the world and demonstrate the great artistic abilities of the Kazakh people. Indeed, every element that comprises an individual piece of Kazakh jewelry, including its form, details, the material it was produced from, and patterns, has a specific purpose and meaning.\nKazakhstan’s abundant supply of nonferrous and precious metals, including gold and silver, encouraged the development of its metalwork for millennia. Casting, forging, molding, stamping, and embossing techniques emerged as early as the second millennium BC, during the Bronze Age, as did signatory traditional designs for jewelry worn by the Kazakhs both historically and today. Saka treasures discovered in different areas of Kazakhstan—the Issyk Kurgan and the Besshatyr, Kargaly, Altyn-Emel, Tagisken, Uigarak, and Berel burials—are true masterpieces.\nBy studying jewelry, scholars can discern a great deal of important social, economic, and cultural information about the people who wore them. The style of jewelry changed during the Migration Period when the Huns moved westward from 47 BC until the fourth century AD. Artisans applied fine metalwork to nearly all objects where metal was used, from jewelry and household items to harnesses.

Thundukuna is a special mat woven from reeds indigenous to the marshlands of Maldives. The reed is locally known as hau. Mat weaving from hau dates back some two hundred years, and this long history is mostly associated with the southernmost atolls.

'Ariyapala&Sons' is a non-profit organization that works with the mask-making community in Ambalangoda. They have also developed a cultural center in the southern coastal region of Sri Lanka, well known for traditional masks and mask dancing. Ariyapala & Sons has established a mask museum in Ambalangoda . The museum is designed to introduce the viewer into the richness of the mask tradition of Ambalangoda and to strengthen this cultural heritage.

Knotting is, in essence, the act of tying a thread or a cord so that it does not come undone, while knot craft is the art of weaving together various shapes using threads or cords made through various methods in order to serve a certain physical or psychological purpose.\nThe origin of knotting can arguably be traced back to the advent of humanity itself. In primitive times, it was necessary to fashion cords and knots out of tree bark and grass for survival purposes in the context of the hunter-gatherer lifestyle; uses would have included tying or linking together hunting tools or carrying captured prey. With the advancement of humanity, however, knots surpassed their purely utilitarian purpose and evolved into craft items that are closely linked to everyday life, with the addition of various materials and crafting techniques. For example, each civilization has evolved its own knotting techniques and shapes influenced by its surrounding environment, to craft items such as belts or waist cords, baskets, and straw mats. Over time, knots have also become accessories worn for aesthetic purposes and ornamental items used to decorate the household, in addition to ritual items used in various ceremonies. In this regard, knots have surpassed their original survival and everyday life purposes to take on aesthetic and spiritual functions as well.

There are many aspects and dimensions to do research on Myanmar lacquer. Myanmar lacquerware has been studied by both local and foreign scholars from artistic and historical points of view. This research highlights the history of Myanmar lacquer, lacquer industry, and its prospects. Myanmar lacquer has a long history and remains as an active cultural phenomenon. But there are very few people who make a living from the lacquerware business. The main problems are the lack of market and scarce resources (labour and raw materials). This research’s objectives are to be able to preserve the traditional Myanmar lacquerware industry, to make it widely known internationally about the process of making Myanmar lacquerware, and to cherish the intangible cultural heritage of Myanmar. It also aims to show and record the current situation of lacquerware industry and to find ways of helping lacquer industry survive the challenges it faces today. In this research, a review of the relevant books, library survey, and field study are done, in addition to interviews with lacquerware makers, taking photographs on many aspects of Myanmar lacquerware, and foreseeing its prospects. The research areas focused on are Bagan and Kyaukka village.\nKey words: lacquer in Myanmar, Bagan, Kyaukka village, industry, production

Working in the field of ICH has always been an occupation of purity and trust from the original craftsperson, working humbly with their communities, material, and environment. For the Sri Lankan handloom industry to thrive, effective partnerships are required across the sector. Shifting towards cocreation using handlooms where all stakeholders enjoy recognition and economic gain, is the only way to protect and grow Sri Lanka’s handloom sector.

Uzbek craftsmanship is one of the most significant parts of the creative cultural industry, contributing to sustainable economic and social development of society. Uzbek craftsmanship has not only historical and functional significance but also great artistic value. It has been attracting the attention of travelers and scholars for centuries. During the years of independence, since 1991, the handicrafts industry has undergone significant transformation. Today, it ranks high among the export-oriented creative industries of the national economy. Handicraft is an essential domain of intangible cultural heritage of humanity and plays key role in promoting creative economic development.

ICH depends on transmitting knowledge, skills, and the inspiration to share this knowledge with the next generation. Transmission depends on the local language where the knowledge originates. When this language is small, Indigenous, or minoritized, the speakers are almost always pressured to shift to a more dominant or more prestigious language; over time, much of the traditional knowledge and practices are lost along with the language. So, language maintenance and revitalization efforts are structural underpinnings for sustaining ICH.

Khon is one of the most significant performing arts of Thailand. It is an important traditional dance and art style dated from the Ayutthaya period. It has its own unique identity and integrates different fields of art, literature, rituals, and crafts.

Sevalanka Foundation of Sri Lanka was established in 1992 and eventually developed a large network in the country. Its mission is to enhance the capacity of rural communities to democratically identify and address their development needs and provide services that contribute to economically viable, socially just, and ecologically sustainable development of Sri Lanka. The Foundation has a ‘community development’ approach to poverty alleviation and economic improvement. The program areas cover Organizational Development, Disaster Management, and Livelihood Generation. Sevalanka works with youths, diversified communities and religious/ community leaders, helping build a network to bring about a joint effort for peace in their communities and socio-economic improvement of the people. They are supporting communities in preserving their traditional livelihoods by providing training, credit facilities, value addition, and market linkage.