In the heart of the city of Pune, Western India, lies Kasba Peth (a “Peth” being a residential-cum-commercial ward), the oldest part of the city, established around 1,300 CE.1 Kasba Peth is a densely packed area with narrow streets, blocks of houses, and temples. Nestled deep in this Peth is Tambat Ali, an alley of coppersmiths in the local Marathi language, where at present around forty coppersmiths (known as tambats) beat malleable sheets of copper (tamba) into a variety of traditional and contemporary products.

Jeju Island, the largest island located south of the Korean Peninsula, is famous for striking natural features created by volcanic activity. Jeju has gained international recognition as \na treasure trove of environmental assets through achievement of UNESCO’s coveted triple crown “Biosphere Reserve,” “World Natural Heritage,” and “Global Geopark.” Among the various natural assets in Jeju, groundwater is the most valuable resource due to the distinctive hydrogeological features of the island. Even though Jeju Island receives the highest quantity of rainfall in Korea, there is no ephemeral stream that flows all year long on the island because of the highly permeable volcanic rock and soil. Due to the lack of surface water, Jeju is highly dependent upon groundwater. Owing to the hydrogeology of Jeju Island, which differs from the mainland, groundwater recharge and sustainable \nyield is of supreme importance. This is why groundwater is recognized as the “Water of Life” on Jeju.

Vernacular martial arts (VMA) occupy a special niche within the diverse phenomena classified as martial arts. Cross-culturally, “Martial arts can be defined as systematic bodies of knowledge, belief, and practice that are associated with methods of attack and defense against … adversaries” (Green and Svinth, 2010, p. 331). On close examination, we learn that the behaviors we attempt to gather under this umbrella term are quite diverse, ranging from life-and-death struggles through rule-governed sporting contests to expressive forms, from globalized combat sports to localized martial culture. The systems that fall on the latter end of this spectrum I have applied the VMA label to, and among the various martial expressions these are the ones that most clearly qualify as intangible cultural heritage (ICH). The following distinctions are useful for the current discussion.

Old Polish sabre fencing fits within the limits of broadly understood Polish martial art, which in addition to sabre fencing includes fighting on war horses with a hussar lance, pickax (horseman’s pick), scythe, or Polish lance. The basis for the claim that Poland has its own sabre fencing pattern is the fact that it developed its own type of sabre pattern called the hussar sabre (Kwaśniewicz, 1988, p. 66) and the existence of Old Polish fencing with palcaty (short sticks) (Kwaśniewicz, 2017, p. 473)—an important element in the preparation of noblemen and courtiers for fencing with this weapon known as “cross art” (Jezierski, 1791, p. 213), and in the case of short sticks, “striking the clubs ( )” (Kitowicz, 1985, p. 113). This had its origins in the 16th century and its tradition was cultivated until 1939. It was resurrected as a Polish martial art in 1986 under the name Signum Polonicum, functioning as a contribution of Polish national heritage to the world family of national sports and martial arts.

The harp is one of the earliest musical instruments of the world. World musicologists believe that the Harp was a musical instrument used by ancient man who hunted with bows and arrows. Harps now being used by people of the contemporary world fall into two types the bow shaped type and the trangle shape type. Of the two the bow shaped harps are said to be the earlier type.\nIn Myanmar, ancient chronicles say that harps were being played as early as in the Pyu Period. In February of 802 A.D. Sri Khettra despatched a Pyumusic and dance ensemble to Chan-ann the city of the Tang Dynasity of China. Tang Dynasty chronicles say that the Pyumusicians had with them two harps with pheasant’s head shapes, two harps with corcodile’s head shapes, one flat harp in the shape of a dragon’s head, one flat harp in the shape of rain clouds, two flat harps of big gourds, one flat gourd-harp with a single string and one small flat gourd-harp. \nAmong rock relief sculptures found on the walls of the Ananda pagoda built by king Kyansittha in A.D 1084- 1113 is a harp which indicates that the harp was in general use in those days. \nSome historical researchers say that Myanmar harp began with 7 strings and is used 13 strings until the down of Konbaung period. And then the harpist U Nyein added one more string in the late of Konbaung period and the harpist U Ba Than added two more strings in the year of 1960s. So Myanmar harp has played with16 strings from that time to now. \nMyanmar harp strings are strung and fastened to the arm of the harp by means of fastening cords or by means of pegs pushed through the arm it is called Let yone. In the old days, fastening cords were tied to the arm in a special kind of knot to prevent the cords slowly slipping down. The present way of making such a knot is of a reef-knot method. \nThe strings of the harp are raw silk twisted to different thicknesses. They are tuned not with pegs but by adjusting the tautness of the strings through loosening or tightening the tassels round the neck. \nThe part where the neck joins the sound box is shaped like a leaf of the saga: (champac) while the stern is shaped like bowl. The tip of the nek is shaped like the leaf of the banyan tree. The neck is made of sha: (acaciacatechu) wood. The sound box is covered with a membrane of deer skin. \nHoles are perforated along the ridge to hold the ends of the strings. The intervals between the holes need to be of correct proportion, otherwise, the harp tends to be out of tune and also lacks proper form. \nHence, the ridge is a critical component of the harp. Today Myanmar harp is being used not merely as musical instruments they are also being used as artifacts to decorate the top room of dwellings. This is being done by way of honouring a musical instrument that has played an important role in development of Myanmar Culture. More sophisticated musical gaegets may emerge time passes, but the harp will ever remain as a heritage of Myanmar musical traditions.

It has been used for about 1000 years ago. Jade flute is proof that is excavated in Kan Su State,at china.\nThis flute was Kachin traditional instrument.\nBamboo joint that grows from hill-side cultivation is chopped and dried. It is perforated by using drill.\nThere are a total of 8 perforated holes including 6 finger holes, two vent holes for enunciation. The flute with no reed is called flute and the flute with reed is called whirling flute. It has to be blown from air holes and the finger holes are made for opening and closing to produce traditional melody. It has to be played together with oboe, drum, gong and cymbal. Pyi Htaung flute is played for all kinds of Manao house-warming ceremony, grating party and honorable ceremony.

In 1942 (Myanmar Era -1305),, a musician from Hsipaw founded the Shan traditional musical troupe in Namhkaik village. He taught singing, dancing and playing musical instruments during the 3 months of Buddhist Lent. One of his descendents is Shew Cherry Theatrical Performance Troupe which is renown today. This troupe gives performance in charity events and monk funeral ceremonies.