Jaggery (Htan Nyat) is very important sweet food stuff in Myanmar which is boiled the toddy palm sap(Htan Yee) so that can be made solid jaggery.It's colour ranges from yellow to brown.Toddy palm tree(Htan Pin) are growing especially in Rural Area of Central Dry Zone of Myanmar such as Mandalay Region, Magway Region and Sagaing Region.The jaggery production can be found as the traditional production in most villages from Kyauk Pa Daung, Myin Gyan, Taung Thar, We Laung, Ye Sa Gyo, Pa Kok Ku, Meik Ti La, Poppa, Bagan and Nyaung Oo township. Other growing areas of Toddy palm tree(Htan Pin) are Lower Myanmar such as Tha Nin Thar Yi Region, Ayeyarwady Region, Dawei, Yebyu, Thaton Districts.\nHere, I would like to express about a traditional jaggery production from Zee O village. Zee O village located in Myay Thin Twin Group,Nyaung Oo Township in Mandalay Region. It locates on the south of Old Bagan and about 25km from Nyaung Oo city. For their seasonal livelihood, they pratice traditional way of jaggery making process through their ancestors for long time ago. Among 200 households of Zee O village, 100 are doing jaggery production. We can see the jaggery production as traditional food for their economic life.\nAccording to the different region, collection time of the toddy palm sap(Htan Yee) is not same. In Zee O village, the sap from male toddy palm (Htan Pho) can only be collected from February to June and the sap from female toddy palm (Htan Ma) can only be collected from April to September. nTo collect sap from the toddy tree,the toddy palm climber uses special tools such as small ladder (Yin Swee) fixed to the upper part of a toddy tree and portable ladder (Yin Htaung) used in connection with the fixed ladder and etc. The work of collecting to sap starts early in the morning. The toddy climber climbs the toddy tree via special ladder attached to its trunk and brings down the pots that have filled with the toddy palm sap overnight, replacing them with empty pots at noon.\nFirst of all,heat the pots(Myu Oe) with dry the toddy palm leaves. Afer heating,the pot are roped.And then,poured the slaked lime into the pot. The one of the important things of the toddy climber is the knife(Dar Hnee) which is needed to sharp.\nSo,the toddy climber grinds the knife before his functions. The toddy climbers of Zee O village are distinct from other places of the toddy climbers. For testing knife is sharp, he cut his hairs himself. And then,he carries about ten pots(Myu Oe) with shoulder-yoke and the sharp knife attached to his waist and goes to the toddy palm trees.\nThere are two ways of collecting toddy juice(Htan Yee) depends on male and female toddy tree. A bit of wood(Ka Laing) is wedged into the top of the toddy palm tree to provide seating while he cuts the flower clusters. When the toddy-udders(Htan Nosh) of male tree become blossom, the climber has to clip the toddy-udders toddy-udders with wooden stick or pounding soften that can get much toddy sap. After that,the toddy climber tied nine or twelve toddy-udders cutting for sap into the pots.\nToddy farmer cut female toddy palm's stalks that have fruits for sap collection. He pounds the base of toddy palm's stalk with a small iron hammer (Zauk Khauk). Toddy farmer slice a little to each fruit to collect toddy sap.\nThe sap has to be filtered leaving behind the sediment of lime(Hton Yee Kyi) is put into a stainless steel boiling pan and boiled for about 45 minutes. According to the different region,the kilns for boiling toddy palm sap are different types.In Zee O village, the kilns are made by digging into the ground so that can work for five boiling pans at the same time. While the sap are boiling, the worker has to stir with flat wooden laddle continuously and also has to be added the seeds or powder of castor oil plant so that it cannot be split into the ground. The boiling and stirring has to be continued to get the suitable condition for moulding of toddy palm syrup was obtained. After that, toddy palm syrup was cooled to make granules by hands. Then,it is also dried for about 15 minutes and jaggery is obtained. nAfter that, export jaggery to the buying centre. The buying centre has to put out to dry with the sun. And then,prepare to trade other regions. Especially, Zee O village trade with Nyaung Oo township and Yangon region.\nThere are some animals to disturb the jaggery production such as mouses,squirrels,butterflies, bats,ants,crows and so on. They suck toddy sap,bite the pot's rope and fruit clusters,throw away faeces into the pot.\nJaggery is completely organic without any chemicals.It is used for Myanmar traditional food such as Mont-lone-yay-paw, Mont-lat-saung,Mont-kywe-thae,Thar-ku-yoo,Mont-lat-kout; etc.\nThere has many nutritional values of jaggery. They are protein, fat, carbonhydrate, energy, calcium, phosphorus, iron, mineral, carotine,vitamin and so on.In medical benefits, jaggery treats cold and cough,purified blood,relieves bone and joint pain,strengthens immunity etc.So,jaggery(Htan Nyat) is very useful for snack and traditional medicine.

At the end of the year, the color of the festival takes place on the hillside. Zoom crops are grown around the house to indigenous peoples' and they take part in many ritualistic conduct. From the depths of the mountains, there is a tune of joy. Chakma, Marma, Tripura remember God as their yearbook festival. nThe festive begin the day before the Chaitra songkranti, goes on to1st Baisakh. Chakma girls go out to collect flowers at night for Ful Biju. Silently steal flowers for puja offerings.\nThe next morning, get started flower immersion and worship of the god Ista. At dawn, at Khomong Koria, everyone comes to the group in the morning to worship.For the contentment of the god, they float the flowers that collected last night.\nOn the day of Vaisu Sankri, the Tripuras worship God Shiva.They believe He come down to earth on this day. In his contentment, goodness and wrath came down, in His anger, shortages and pestilences. The bamboo scissors are cut and made to symbolize the god Goria,hang yarn, pant, zoom crop, cotton wrap. The culture of Tripura is evolving on the life of the zoom crop. Therefore, the life of the hill region can be seen in Garia dance.\nThe Sangrai goddess brings good luck and welfare to the people from heaven to the earth. The Sangrai festival started at the moment of her come down. The main attraction of Sangrai is Jolkheli. Marma's belief that the water thrown in the Jolkheli washed away the past year's misery, sin. The New Year is accepted in a holy way. If a young woman likes each other, then the couple express their love throwing water on each other. Through this, their social bond is strengthened.\nBuddha bath is done in water mixed with coconut water and sandalwood. Then starts puja. The yearbook festival of the inhabitants ends with a wish for the good and peace of the world.

The body of the harp is made of good quality Padauk wood. It is not as same as the Myanmar Harp because it is curved in the shape of the hull of a boat. The arm of the harp is made of PJn:ma (kind of large timber tree/ larger stroemiaspecion). The floral scroll-work is curved at the top of the arm and the square shape of the peg is used to tune the strings of harp. The reed of the harp is made of cutch wood. The body of young cow’s skin is covered the body of sound body. There are nine harp strings that are put on it. The creeper strings and the cane strings were yarned together as the harp strings which were used in the past time. Nowadays, steel strings are put on as the harp strings. When making the Karean harp ,first, go to the deep forest and make offering consisting of hands of bananas, coconut etc. The harp is made to be finished in the forest. Before putting the strings on it, it has to be made to gain magical power using star-flower, jasmine, the rock dammar flower, the frangipani flower, the vachellia flower (kind of fragrant flower) and the tiger-lady (species of orchid ). After making the harp, women don’t touch and hold it to make it more magical power according to Karean’s Tradition or custom.\nThe playing method of the Karean Harp is easy and simple. It can be easily learned to play by hearing musical scale up and down when the skillful player is playing it. After tuning the harp strings, it is held tenderly to the bosom. Left hand is placed with five or six strings for opening and closing tunes. The rest of one to four strings have to be played with the right thumb and forefinger.

This is an original dance based on the ‘Shoulder Bell Dance’, a representative folk dance of the Qiang people. While the Shoulder Bell Dance originated from the shamanic rituals of the Qiang, it has since evolved into a popular dance performed by women during traditional holidays and ethnic festivals.\n\nThe Qiang is a minority ethnic group that lives in Sichuan Province, China. The history of the Qiang people dates back 4,000 years, being almost as long as the history of the Chinese civilization. Due to geographical conditions limiting their interactions with other ethnic groups, the Qiangs have managed to preserve a their culture in its original form relatively well. Music and dance have been a part of daily life and a respite from its hardships for the Qiang since ancient times. The Qiangs are particularly talented in dance, and continue to uphold a remarkable culture of dance.\n\nCharacteristics:\n∙Originates from shamanic rituals in primitive religion\n\nPerformed by College of Art, Chengdu Sport University\nDirected by 로봉

Intangible Cultural Heritage Elements of Ferghana Valley: Traditional Craftsmanship\n\nThe Ferghana Valley is a cradle of ancient Uzbek cultural traditions. In this area, creative folk arts, such as dancing, music, applied art, performances, and national games are highly developed and interconnected as are customs, traditions, and events. Uzbeks, Tajiks, Uyghurs, Kyrgyzs, Turks, Russians, and people of other national and ethnic backgrounds live in the Ferghana Valley. While they maintain and hold their own folk traditions, customs, and festivities, they also engage in Navruz and Mehrjon holidays with each other.\n\n1. Guli Arghuvon Festival\nThe expedition team to Ferghana Valley video-taped the Guli Arghuvon Festival that takes place every spring in the Do‘sti Khudo Graveyard in the Oltiariq District. The holiday is connected with the blossoming of the arghuvon plants (cercis siliquastrum) that grow in front of the graveyard’s mausoleum and stay in bloom for three days. While this particular event is not celebrated elsewhere, similar events, such as Qizil Gul or Guli Surkh (Red Flower), Lola Sayli (Tulip Festivity), Sunbul Sayli (Hyacinth Festivity), and Gunafsha Sayli (Viola Festivity), have found their way onto traditional calendars in different regions. Due to the historically agrarian Uzbek culture, many of its traditions, such as the Guli Arghuvon Festival and the others mentioned, are related to praising plant life and nature itself. Ancient faiths saw the eternity of nature with death coming in autumn when the trees lose their leaves and life returning when plants blossom in early spring. This point of view is the basis for many beliefs and events in agrarian cultures. The Guli Arghuvon Festival is based on ancient calendar events that unite agrarian beliefs and culture with ideas relating to harvests. Holding the event in a graveyard connects the idea that nature undergoes death and birth in the circle of seasonal change.

The Ferghana Valley is a cradle of ancient Uzbek cultural traditions. In this area, creative folk arts, such as dancing, music, applied art, performances, and national games are highly developed and interconnected as are customs, traditions, and events. Uzbeks, Tajiks, Uyghurs, Kyrgyzs, Turks, Russians, and people of other national and ethnic backgrounds live in the Ferghana Valley. While they maintain and hold their own folk traditions, customs, and festivities, they also engage in Navruz and Mehrjon holidays with each other.\n\n1. Guli Arghuvon Festival\nThe expedition team to Ferghana Valley video-taped the Guli Arghuvon Festival that takes place every spring in the Do‘sti Khudo Graveyard in the Oltiariq District. The holiday is connected with the blossoming of the arghuvon plants (cercis siliquastrum) that grow in front of the graveyard’s mausoleum and stay in bloom for three days. While this particular event is not celebrated elsewhere, similar events, such as Qizil Gul or Guli Surkh (Red Flower), Lola Sayli (Tulip Festivity), Sunbul Sayli (Hyacinth Festivity), and Gunafsha Sayli (Viola Festivity), have found their way onto traditional calendars in different regions. Due to the historically agrarian Uzbek culture, many of its traditions, such as the Guli Arghuvon Festival and the others mentioned, are related to praising plant life and nature itself. Ancient faiths saw the eternity of nature with death coming in autumn when the trees lose their leaves and life returning when plants blossom in early spring. This point of view is the basis for many beliefs and events in agrarian cultures. The Guli Arghuvon Festival is based on ancient calendar events that unite agrarian beliefs and culture with ideas relating to harvests. Holding the event in a graveyard connects the idea that nature undergoes death and birth in the circle of seasonal change.