The Kazakh oral tradition is closely associated with the culture and lifestyle of nomadic civilisation. One of the main branches of the Great Silk Road is known to have led across Central Asia and Kazakhstan. The instrumental and oral traditions of numerous nomadic and settled nations were developing along the Great Silk Road in close interethnic contacts. In particular, many scientists and researchers note that different cultures and ethnic groups have common variations of tamboura-like instruments with silk strings and dulcimer-like instruments and traditional guttural singing.

Arts-ED is a Malaysian non-profit organization operating out of George Town, Penang, a UNESCO World Heritage Site. It aims to provide innovative community-based arts and culture education in both rural and urban communities. With programs focusing on the arts, culture, and heritage, Arts-ED uses creative educational approaches that encourage learning around real issues.

"Fiji perceives the 2003 Convention as an important tool to enhance the national pursuit to protect, promote, and revitalise traditional knowledge systems and intangible cultural heritage (ICH) of not only the indigenous iTaukei but also the many other ethnic groups that have made Fiji their home. It is these migratory ethnic cultures that are creating a challenge to the survival the indigenous culture, but at the same time, they are also a blessing in disguise because the influx of different cultures creates a multi-ethnic cultural society, one that is open to dialogue, national identity, and greater understanding, which then promotes pluralism in creativity and innovation. \nHowever, one of the most promising features of migratory cultures is that their dancers, spoken language, and forms of worship have to some extent become accustomed to the new environment that has engulfed their new social structure. And this is the most fascinating thing about ICH—it is evolving, so it is a form of living heritage. The migratory groups whilst practicing their heritage have also adopted elements of the local culture. The same also applies to the indigenous culture, which has adopted aspects of the migratory culture over time. For example, garlanding (veivakasalusalutaki) during traditional welcoming ceremonies and other events was not originally a part of iTaukei ICH, but through time, it has been adopted from other Pacific Island cultures, such as the Rotuman, Indo-Fijian, and Chinese cultures. So we are continually faced with questions and challenges as to that which the community perceives as their true ICH and that which is borrowed, and in respect of those that are a blend of both, where do they fit? Or to whom does it belong? What if the community collectively feels that it is not their own, what do we do? Do we still enter this into our national inventories? The contemporary ICH (art)—how are we to embrace it? These are issues we hope to explore further in the "

Modernization and other internal and external influences have caused vernacular houses in the Asia- Pacific region to be replaced. Today, their traditional status has been taken over by houses constructed using newly introduced materials and styles, even in remote villages. Although a house, as a physical object, may be considered to be a tangible heritage, the vernacular house is a product that encompasses intangible components, including the knowledge, skills, and local traditions associated with their construction, use, and maintenance by the particular community. The conservation or protection of vernacular houses is, in other words, tantamount to safeguarding their rich culture rather than merely the preservation of static buildings. \n\nVernacular houses in the tropics of Southeast Asia and the Pacific islands are often built using native plants, and they require occasional rebuilding and regular maintenance. The knowledge and skills required for the construction of a vernacular house building are rarely documented. Instead, the expertise is generally stored in memory and in the activities that are undertaken by an individual, family, or community. This is transferred through practical experience down the generations and is only shared among the members of a community. Our initiative focuses on the reconstruction of vernacular houses in conjunction with local communities, creating opportunities to understand all the requisites of building these traditional structures by thoroughly recording the construction process. \n\nChanges that have occurred in individual values, the lifestyles of ethnic communities, and their surrounding environments have created a situation in which the resources that are necessary for the construction of vernacular houses are less easily available or no longer available. It is common for vernacular houses to be perceived as outdated, old-fashioned, and underdeveloped. A vernacular house can no longer be built and used in the same way that it was when it was the only choice of housing. We need to identify ways in which to sustain traditional house building practices and to utilize this knowledge by examining its potential and its meaning in the modern context. This paper introduces our approach to the reinstatement and reconstruction of vernacular houses and to the revival of related activities in conjunction with local communities in Fiji, Thailand, Vanuatu, and Vietnam and illustrates some of our findings. In the process, the study identifies what it takes to build and sustain vernacular housing.

The art of lacquer painting of Uzbekistan has deep traditional roots. Lacquer had been used in Samarkand since the Temurids epoch (fourteenth to fifteenth centuries). These facts can be testified by miraculously preserved original ornamental medallions from papier-mâché in the interiors of Mosque Bibi-Khanim. Particular interest represents carved doors and completely restored golden-blue dome, at the interior of the main building of Gur-Emir, consisting of 998 papier-mâché elements (tosh qog’oz in Uzbek).

Since the United Nations Educational, Scientific and Cultural Organization (UNESCO) was initiated in 1946 to promote world peace and development based on international understanding and cooperation, there have been continuous efforts to safeguard cultural heritage of humanity. However, it is undeniable that tangible cultural heritage, which includes natural and cultural heritage, received greater emphasis than intangible heritage. The Convention for the Safeguarding of Intangible Cultural Heritage adopted in 2003 in Paris ("2003 Convention" hereinafter) is regarded as a milestone that changed the historical perception and marked a turning point.

Nepal is a multiethnic, multilingual, and multicultural country with rich cultural heritage located between India and China. The 2011 census recognized 125 caste and ethnic groups and 123 different languages. The new constitution of the Nepali federal republic has further recognized all the spoken languages as national languages. The National Foundation for Development of Indigenous Nationalities (NFDIN) recognized fifty-nine indigenous nationalities residing in Nepal in 2002 (NFDIN 2011). However, in the 2011 census only forty-seven indigenous nationalities were reported (CBS 2012). Among them, Tharu is the second-largest indigenous group with a population of 1.7 million residing in various districts of southern Nepal (CBS 2012).

"About the Centre for Intangible Heritage Studies (CIHS) The Centre for Intangible Heritage Studies (CIHS) is an academic center based at the Sree San- karacharya University of Sanskrit, Kalady (SSUSK) in the state of Kerala in India. It is the first academic center in India established exclusively for the study of intangible heritage. It should be noted here that the discipline or subject of intangible heritage is relatively new, coming into existence only with the launch of the 2003 UN Convention for the Safeguard- ing of the Intangible Cultural Heritage (ICH). Up to then, all discussions on heritage were restricted to its tangible aspects. More than a decade since the 2003 Convention, there remains a lack of awareness about."

Best practices (BP) and guidelines represent a fundamental topic, especially when a given technology matures enough that many users, not totally familiar with it, decide to approach that technology to make it mainstream. This is, for example, the case with 3D modelling methodologies; many users, also non-experts, have tried to approach them, especially after the emergence and diffusion on the market of high quality, non-metric, and relatively cheap digital cameras, together with many software solutions for 3D image-based modelling. If several technical standards have already been adopted for the traditional surveying and dimensional contact metrology fields, it is only in the last few years that BP-related projects and information have appeared in the field of 3D Cultural Heritage (CH). A best practice is a process or method that, when executed effectively, leads to enhanced project performance (Cheok et al., 2008) and ensures, or at least increases, the chance of performing quality data acquisition and subsequent use in a given field (Beraldin et al., 2011). Since documenting is part of a measurement process, the basic principles and practical issues that affect the making of measurements should be considered when dealing with CH documentation. A Good Practice Guide was created by Goldsmith (2010), where six guiding principles to perform good measurements are stated, i.e.:

Khan-Uul Complex School is located in Kherlen Soum (district) of Dornod Province, which has four ethnic groups: the Khalkh, the Buryat, the Barga and the Uzemchin. For years, the school has been very active in promoting the intangible cultural heritage of the region and beyond, both through curricular and extra-curricular activities. It has developed several policies to support this process, such as incorporating ICH activities into the school annual work plan, adjusting teachers’ workloads to provide time for such activities, and creating suitable environments to foster student learning

The Phnom Penh Vientiane Workshop and Charter were driven by participants who represented museum and heritage leadership from linguistically and culturally diverse communities of South-East Asia and Timor-Leste. Its integrity, from preparation to follow-up, has been overseen by a leadership of entirely Asian linguistic and cultural backgrounds. It was the first of such major initiatives in Asia by the International Council of Museums (ICOM). It addressed the concern that models and methods from developed or rich countries, where heritage contexts are well resourced, may not necessarily work for cultural communities and groups in low economic indicator countries. This concern was prioritised with the significance given to stakeholder or carrier and transmitter communities in the UNESCO 2003 Convention.

Cultural heritage consists of any tangible or intangible object, group, or natural resource which has been inherited or created by a generation and is safeguarded to be transferred, in excellent condition, to future\ngenerations (after UNESCO, 2019). Tangible cultural heritage refers to monuments, groups of buildings or sites of outstanding universal value, whereas intangible cultural heritage is a practice, representation, expression, knowledge, or skill, as well as instruments, objects, artifacts, and cultural spaces that communities, groups, or even individuals recognize as part of their cultural heritage (UNESCO World Heritage Centre, 2019., UNESCO Intangible Cultural Heritage, 2019). The 1972 World Heritage Convention of UNESCO defines the criteria of the natural or cultural sites to be considered for inscription on the World Heritage List (UNESCO World Heritage Centre, 1972). The Convention for the Safeguarding of the Intangible Cultural Heritage was drafted in 2003 for the protection and promotion of the aforementioned intangible cultural heritage elements, and such elements may be inscribed on the appropriate Intangible Cultural Heritage List (UNESCO Intangible Cultural Heritage, 2003). The two types of cultural heritage, tangible and intangible, are not to be treated separately but in combination, since either one is influenced by and complementary to the other.